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Archive for the ‘Audio Free’ Category

Ken and Robin Consume Media: We Did Not Have To Coordinate to Make It Adrienne Mayor Week

June 20th, 2017 | Robin

Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on our new podcast segment, Tell Me More.

Oh, and while we’re talking media consumption, you might be interested to hear that the Kickstarter for Robin’s The Yellow King Roleplaying Game launches tomorrow night, Wednesday June 21st, at 8 pm.


Amazons: Lives and Legends of Warrior Women Across the Ancient World (Nonfiction, Adrienne Mayor, 2014) Combining classics, history, archaeology, and anthropology, Mayor advances on the Amazons across a broad front. Centering on the historical Scythian warrior women but reaching across the steppes both to modern eagle huntresses in Kazakhstan and to mythological armies besieging Athens, this should be anybody’s first (and almost anybody’s finest) resource on Wonder Woman’s iconic ancestresses. –KH

Beirut Noir (Fiction, ed Iman Humaydan, 2015) Character vignettes of trauma and yearning for escape predominate in short stories that paint a composite portrait of a city still devastated by war. Well-selected anthology of literary fiction culled from writers working in English, French, and Arabic. Gotta call BS on the misleading packaging though: this has nothing whatsoever to do with noir and only a couple of pieces that so much as nod to the crime genre.—RDL

Oh Hello on Broadway (Television, Netflix, Michael John Warren and Alex Timbers, 2017) Longtime NYC roommates and George St Geegland (John Mulaney) and Gil Faizon (Nick Kroll) put on a play loosely based on their own unearned grandiosity, plus tuna pranks. Mulaney and Kroll spin sketch characters into new stratospheres of eccentricity. Filmed live theater usually dies on screen but Warren shows how to do it right, by shooting it like a comedy special.—RDL

The Poison King (Nonfiction, Adrienne Mayor, 2009) Historical biography of Mithradates, the alternately generous and brutal Anatolian monarch who waged multiple wars against the hated Romans and set up a toxicology lab to immunize himself from the number one cause of death among ancient royals. Scholarship and storytelling fight alongside one another like the comrades they ought to be in an account laden with enough brilliant detail to launch a dozen KARTAS segments.—RDL

Thirst For Love (Film, Japan, Koreyoshi Kurahara, 1967) High-strung widow carries on an affair with her late husband’s stern father while lusting after the family’s hot but lunkheaded young gardener. Cross  A Doll’s House with Lady Chatterly’s Lover and add experimental flourishes and a touch of arterial spray and you’ve got this icy melodrama. Kurahara withholds sympathy for the protagonist until the very last moments, but those moments pay it off, making this one of those films that works better in retrospect than when you’re watching it.—RDL


The World Atlas of Pirates (Nonfiction, Angus Konstam, 2009) Indefatigable pirate-ologist Konstam returns with a sound, broad primer on the topic, ranging from the Sea Peoples to Somalia but with most of the attention of course on the 1560-1720 Caribbean. The sumptuous illustrations partially compensate for the relatively few and low-bandwidth maps, and even the most devoted student of the topic will find new nuggets of information while kvetching about the absence of their favorite obscure sea rovers. (There’s nothing on the Zambos Mosquitos of the 18th-century Nicaraguan coast, just saying.) –KH

A Starchy Yellow Sign and an Important Mnemonic Join the Ken and Robin Shirt Store

June 14th, 2017 | Robin

It has been written, and now it shall be unveiled: two more new designs join the Ken and Robin Talk About Stuff merchandise store at TeePublic.

Grab them as erudite apparel, notebooks, phone or laptop cases, or even stickers.

Ken and Robin Consume Media: In Which a Bold Claim Is Advanced Regarding the Furious Franchise

June 13th, 2017 | Robin

Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on our new podcast segment, Tell Me More.


Fate of the Furious (Film, US, F. Gary Gray, 2017) After a terrific street race in Havana, a whirlwind of heel and face turns, and one horse-pill of a plot contrivance, we’re off on another manic spy adventure set in a world where street racers are America’s most strategic resource. Charlize Theron plays the best villain the series has had since Cole Hauser, and the Manhattan set piece manages to actually invent (and sell!) an original motif for car chases. –KH

Gotham Season 3 (TV, US, Fox, 2016-2017) Jim Gordon and young Bruce Wayne go down ever darker paths as the Penguin becomes mayor and a monster-making virus takes hold in the city. Third time’s the charm as the show’s pacing and structure finally catch up to the strength of its characterizations.—RDL

Historical Atlas of Central America (Nonfiction, Carolyn Hall and Hector Perez Brignolli, 2003) For scope and information presentation, this atlas probably can’t be beat. If you’re interested in the history of Central America, this is your atlas. If you’re not, admittedly, this may not do much to convince you otherwise. –KH

The Historical Atlas of the Vietnam War (Nonfiction, Harry G. Summers, 1995) With 100+ clear strategic and tactical maps (from the Mongol invasions to the Sino-Vietnamese War of 1979) bolstered by Summers’ (mildly revisionist and heatedly anti-McNamara) text, this fine atlas doubles as a brief military history of the war. Its only real flaw is having just one map on Laos, focusing on its fall in 1975 rather than the lengthy “Secret War” we fought there from 1962 to 1972. –KH

Tunnel (Film, Korea, Kim Seong-hun, 2016) Motorist (Ha Jung-woo) waits desperately for rescue after a shoddily constructed highway tunnel collapses onto his vehicle. That great theme of contemporary Korean cinema, endemic institutional incompetence, adds an extra level of nailbiting to this rescue suspenser. —RDL

Wonder Woman (Film, US, Patty Jenkins, 2017) Well whodathunkit, when you provide believable emotional beats in a superhero film, the usually tiresome last-act fight scene actually means something! Patty Jenkins inspires Gal Gadot (Diana) and Chris Pine (Steve Trevor) to the top of their acting range and rescues the DCEU film franchise with assists from fight choreographer Ryan Watson and an intermittently excellent score by Rupert Gregson-Williams. –KH


Furious 7 (Film, US, Justin Lin, 2015) Playing more as a series of meticulous action set pieces than a fully realized story (likely as a result of star Paul Walker’s death mid-filming) Furious 7 nonetheless successfully shifts what is arguably the best overall* movie franchise** of all time from heist films to spy-fi, much as its fifth installment graduated a “killer B” street-racing series to the big leagues. Kurt Russell plays the crucial role of “guy you like watching so much you follow him into the entirely different movie without a qualm.” –KH


Funeral Parade of Roses (Film, Japan, Toshio Matsumoto, 1969) Hostess at drag bar carries on with its owner and aspires to displace her aging madam. Experimental, gender-bent retelling of Oedipus could do with more Fassbinder and less Godard, which would require it to have been made about three years later.—RDL

* All meat, no sawdust: no Phantom Menace, no Star Trek V, no Harry Potter 2, no Thor 2, no Thin Man Goes Home, no Skyfall.

** Multiple directors + more than a trilogy, so shut yer pie holes you lovable Buzz Lightyear/Sergio Leone/Mad Max scamps

Ken and Robin Consume Media: Wonder Woman, Alien, Pirates and Way Way More

June 6th, 2017 | Robin

Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on our new podcast segment, Tell Me More.

The Pinnacle

The Girl With All the Gifts (Film, UK, Colm McCarthy, 2016) Preteen girl (Sennia Nanua) whose version of the fungal infection that has triggered a zombie apocalypse flees the base where she was about to be vivisected along with a sympathetic teacher (Gemma Arterton), gruff sergeant (Paddy Considine) and the single-minded researcher who still regards her as a vital biological sample (Glenn Close.) Would be worth a recommend strictly for its well-extrapolated fungal undead rules; the emotional journey of its unique protagonist makes it an instant add to the zombie canon.—RDL


The Americans Season 5 (TV, FX, 2016-2017) The best show on television takes an inward turn this season, focusing on the human costs of — and the surprising potential for trust within — the spy careers of KGB sleeper agents Philip and Elizabeth Jennings (Matthew Rhys and Keri Russell, whose tremendous acting gets even stronger). Because it drives me absolutely bananas when people say things like “you really need to have watched the first four seasons to get how truly great this one was” I just docked it a level for slackening its narrative momentum, but if you watched the first four seasons you likely know why I put it on my personal Pinnacle. –KH

Headshot (Film, Indonesia, Timo Tjahjanto and Kimo Stamboel, 2016) Bullet fragment lodged in the brain of a battle-scarred hospital patient (Iko Uwais) prevent him from remembering that he was raised to be one of several super-henchmen serving a legendary gangster—but his former allies haven’t forgotten. Stylish, ultra-hard martial arts extravaganza will revise whatever mental image you currently associate with paper-cutters.—RDL. Seen at TIFF ‘16; now on Netflix.

Nazi Agent (Film, US, Jules Dassin, 1942) German emigre bookseller (Conrad Veidt), fiercely loyal to his new American home, discovers to his horror that the head of the Reich’s spy network in the US is his estranged twin (also Veidt.) Rousing little gem from Hollywood’s propatainment era,  anchored by a subtle, affecting performance from Veidt.—RDL

The Real Spy World (Nonfiction, Miles Copeland, 1978) Only slightly changed from its 1974 incarnation Beyond Cloak and Dagger, CIA agent Copeland’s wry, engaging description of the espionage and intelligence business may still remain the best in its breed. Like Copeland’s own career it focuses on case officer and analyst work more than straight tradecraft, but provides a few pointers in such things as home cryptography and how to recognize spies in a club (they’re on tight expense accounts so they stick to beer instead of fancy cocktails). –KH

Secrets of the French Police (Film, US, A. Edward Sutherland, 1932) Sûreté inspector (Frank Morgan) employs forensics, disguise and an alliance with a witty jewel thief to investigate a murder case involving hypnotism and the Princess Anastasia. Packed with pulpy flourishes and begging to be ported into your next Trail of Cthulhu scenario.—RDL

Wonder Woman (Film, US, Patty Jenkins, 2017) Last child of the Amazons (Gal Gadot) grows up to rescue a downed pilot (Chris Pine) and follow him into WWI so she can find and slay the war god Ares. With its tight throughline, classic take on an iconic character, clear and rousing action choreography, and a star-making performance from Gadot, Wonder Woman shield-leaps over most pitfalls of the modern superhero flick.–RDL


Lovecraft Country (Fiction, Matt Ruff, 2016) A secret heritage pulls a family living in Chicago’s south side into a weird struggle within a network of sorcerous lodges. Short stories linked by a story arc view classic horror and SF tropes through the lens of the mid-century black experience in America. I hope that in its upcoming HBO adaptation the story editor prunes out its many verbal anachronisms.–RDL

Norm MacDonald: Hitler’s Dog, Gossip & Trickery (Stand-up, Netflix, 2017) MacDonald’s ultimate gift is delivery, which means any hour of material from him will land better than it reasonably should. This routine covers some familiar ground (getting old, things these days) and some less familiar (auto-erotic asphyxiation). Very little of it ascends to the epic, manic level of the moth joke but very little of it is unfunny. –KH


The Berlin Project (Fiction, Gregory Benford, 2017) In this alternate history, chemist Karl Cohen (Benford’s father-in-law, as it happens) pushes centrifuge diffusion into the mainstream of the Manhattan Project, so the A-bomb is ready for D-Day. Benford’s prose is workmanlike, but his speculative energies balk and shy once we leave the lab for the battle front. The editing is spotty, missing errors of fact and consistency, and allowing lots of repetition; all disappointing, as only Benford (who knew most of the Project scientists personally) could have written this novel at all and he could have written a much better one. –KH

Not Recommended

Alien: Covenant (Film, US, Ridley Scott, 2017) Weyland-Yutani has changed their crew mix to about 70-30 twitchy-idiotic in this sequel to Prometheus that leans further into the previous Alien films, complete with a Ripleyesque hairdo for xenomorph-killer Daniels (Katherine Waterston). (The Alien-phile I’m married to thought it was Okay.) Scott frames some jaw-droppingly gorgeous shots and intermittently attempts a newly overt Frankenstein theme with a dash of Milton. Sadly, the script takes an endless time killing characters we don’t care about and then hammers suspense flat in the last act. –KH

Pirates of the Caribbean: Dead Men Tell No Tales (Film, US, Joachim Rønning and Espen Sandberg, 2017) Apparently I am under a pirate curse of some kind forcing me to see these. Shiploads of daddy issues collide in murky, unchoreographed battle scenes that waste Javier Bardem and some cool zombie sharks. Golshifteh Farahani’s witch Shansa likewise belongs in a better film, and given the lack of setup or payoff her character receives, may well have teleported in from one. –KH

Ken and Robin Have New Shirts For You

May 30th, 2017 | Robin

Just in time* for displaying enigmatic erudition on boardwalks and beaches, the first of our themed T-shirt designs have now arrived at our TeePublic merchandise storefront.

Wear them in a variety of styles, or emblazon these words to live by on mugs, phone covers, laptop covers or stickers.

Go straight to your design of choice:

Metaphor Drift! Metaphor Drift!

You Need Canapes to Have a Secret Society

We’ll be rolling out more wearable in-jokes in the weeks and months ahead…

*Weather observation void in southern hemisphere.

Ken and Robin Consume Media: Resistance Thriller Mastery & Formative Korean Exploitation

May 30th, 2017 | Robin

Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on our new podcast segment, Tell Me More.


Devil! Take the Train to Hell (Film, South Korea, No-Shik Park, 1977) Blind man whose weapons include his spear-like cane and highly effective throwing walnuts teams up with woman who commands snakes and spits needles like a human blowdart; together they hunt the Japanese crooks who killed their fathers in a Korean Manchurian village at the end of the occupation. Crazy exploitation revenger features crime jazz, groovy dance sequences, eye-popping colors, a lead actor twice the age of his character, an array of mod fashions, and monumental melodrama. Do not expect the pacing and technical polish of a contemporary Korean flick. This title, available on the official Korean Film Archive YouTube channel, could easily play in the influences sidebar of a Chan-wook Park retrospective.—RDL

A Hero of France (Fiction, Alan Furst, 2016) Furst’s latest spy novel about decent Europeans defending civilization against Naziism follows Mathieu, the leader of an early Resistance network in 1941 Paris. Furst is so good at this by now that he almost seems lazy, relaxed as he paints in the scenery and the quotidian heroism of rescuing pilots and dodging surveillance. In the last act, Furst pays it all off in a riveting 70 pages of cat-and-mouse that reminds you why he’s simply unbeatable on his chosen ground. –KH


The Flash Season 3 (Television, US, CW, 2016-2017) Barry faces repercussions for time meddling in the form of Savitar, an armored speedster who in the future will kill Iris. Three-peat on the motif of the big bad who is the perverse reflection of the hero builds to a climax that doesn’t pay off the season’s investment in it.—RDL

Hell to Eternity (Film, US, Phil Karlson, 1960) Orphaned Angeleno raised by a Japanese-American family finds an unexpected use for his language skills when, as an adult (Jeffrey Hunter), he fights as a marine in the Battle of Saipan. Compelling if sometimes heavy-handed film starts as earnest social drama and takes a side quest into overheated 50s sexuality before getting down to the question of whether one can fight a war while recognizing your enemy’s humanity. George Takei briefly appears as Hunter’s adopted brother.—RDL

Narcos Season 2 (Television, US, Netflix, 2016) A season that relies correctly, if too heavily, on Wagner Moura’s mesmerizing performance as Pablo Escobar (and Paulina Gaitán, increasingly compelling as his wife Tata) lets itself drift narratively, padded and meandering through the end of Escobar’s career. When you can’t make a death squad interesting, it’s time for a rethink. –KH


Arrow Season 5 (Television, US, CW, 2016-2017) Oliver assembles a new team of vigilantes as a mysterious enemy who is, guess what, his perverse reflection, wages a murderous vendetta against him. Relentlessly chumps its heroes in a get-back-to-basics season that forgets the basics weren’t that great in the first place, with a dreary dud of a Big Bad and an ultra-lame cliffhanger. Now if Dolph Lundgren, as recurring flashback villain, had been the current day villain…—RDL

Get Me Roger Stone (Film, US, Morgan Pehme, Dylan Bank, Daniel DiMauro, 2017) Documentary profile of pioneering chaos agent Stone traces his career in talking heads and archival footage format. Though this will serve as a useful backgrounder when the congressional testimony starts, the filmmakers bring a marshmallow to a gunfight and get thoroughly outfoxed by their subject, who never lets the mask of his cartoon persona slip. It’s safe to say that your critique of a political figure has failed when he relentlessly promotes it on Twitter.—RDL

Ken and Robin Consume Media: Korean Exorcism and Tweaking Nazis

May 23rd, 2017 | Robin

Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on our new podcast segment, Tell Me More.


Blitzed: Drugs in Nazi Germany (Nonfiction, Norman Ohler, 2016) Novelist Ohler’s chatty history attempts to cover the whole field of drug use in the Third Reich but winds up only really focused on two areas: methamphetamine use by the Wehrmacht and other branches, and cocaine and opioid (Eukodal) use by Hitler at the behest of his Dr. Feelgood, Theo Morrell. Ohler outruns his research in a few places, mostly signposted, but the great virtue of this book is finding something new to say about WWII. –KH

Supernatural Season 12 (Television, US, Robert Singer and Andrew Dabb, 2016-2017) Sam and Dean get used to having their mom back from the dead as they deal with an incursion from ruthless British monster hunters and the return of Lucifer. The Gunsmoke of horror adventure shows freshens up its formula by layering two competing big bads into its continuity arc.—RDL

The Wailing (Film, South Korea, Hong-jin Na, 2016) When it begins to ensnare his own family, a doltish police sergeant (Do-Won Kwak) has all the more reason to investigate the connection between a rash of weird murders and the strange Japanese man who lives out in the woods (Jun Kunimura.) Spins that South Korean staple, the police incompetence drama, into epic-length exorcism horror that keeps the twists and ambiguities coming.—RDL


Armies of the Volga Bulgars & Khanate of Kazan: 9th-16th Centuries (Nonfiction, Viacheslav Shpakovsky and David Nicolle, 2013) Perhaps every known fact (and plenty of speculation) about the Volga Bulgars’ military is in here and it’s still visibly stretched thin; besides the lovely plates, half the illustrations depict non-Bulgar weapons or fighters. That said, these 64 pages may be the best, i.e., only, book on the Volga Bulgars in English. –KH


Thunder Road (Film, US, Arthur Ripley, 1958) Kentucky moonshine runner (Robert Mitchum) puts his driving skills to use against federal agents and a murderous gangster out to seize his community’s booze production. This milestone in the development of the car chase action movie, a passion project of Mitchum’s, plays as an artifact today due to poky pacing in the dramatic scenes and a supporting cast that just can’t hold the screen with him.—RDL

Not Recommended

Mystery Team (Film, US, Dan Eckman, 2009) Kid detectives uncover a murder plot, except they’re all seniors in high school who still think they’re kid detectives. Even with Donald Glover and Aubrey Plaza in it these 94 minutes are interminable; if it had been a 9-minute comedy sketch, the single joke might have worked. –KH

The Salvation (Film, Denmark, Kristian Levring, 2014) After killing the men who murdered his freshly-arrived wife and son, a Schleswig war vet turned old West homesteader (Mads Mikkelsen) becomes the target of a land-grabbing bandit (Jeffrey Dean Morgan.) Taking the Mannerist sensibility of the spaghetti western and swapping out the black humor for unremitting Nordic grimness is not a compelling trade, it turns out. If this was a thing we could call it a frikadeller western but sadly it’s not.—RDL

Ken and Robin Consume Media: Officials vs Godzilla and Death Up a Tree

May 16th, 2017 | Robin

Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on our new podcast segment, Tell Me More.


Shin Godzilla (Film, Japan, Hideaki Anno, & Shinji Higuchi, 2016) Government officials struggle for a response when a gigantic, mutating sea dinosaur attacks Tokyo. Reimagines the ‘54 original as taking place in a world where anti-kaiju efforts are hampered by realistically drawn political impediments.—RDL


All Honourable Men (Fiction, Gavin Lyall, 1997) Lyall’s very occasional prose fireworks are not really on display in this fine spy thriller set in the pre-WWI era. Lyall’s late series character Matthew Ranklin attempts to do the right thing in a hostage standoff on the Berlin-Baghdad Railway. Probably worth reading, but only the locations provide the glimmer of Lyall’s potential; that said, the setting is still top notch. –KH

Hearts of the West (Film, US, Howard Zieff, 1975) Prolix bumpkin with dreams of publication as a Western novelist (Jeff Bridges) becomes a B-movie cowboy actor in 1930s Hollywood. Gently comic entry in the 70s nostalgia wave also stars Blythe Danner, Andy Griffith and Alan Arkin. Declaring influences can be tricky, but if there was a book called Roots of the Big Lebowski this film would definitely rate a section.—RDL

On Borrowed Time (Film, US, Harold S. Bucquet, 1939) After Death (Cedric Hardwicke) takes his parents and then his grandmother, an irrepressible tyke and his adorably irascible grandpa (Lionel Barrymore) trap him in a tree. Sass and sentimentality abound in this folksy comedic fantasy.–RDL


Gangster Squad (Film, US, Ruben Fleischer, 2013) Fleischer makes a C-grade B-movie with an A-list cast and from pieces of better flicks. He casts the LAPD vs Mickey Cohen as two warring visions of Los Angeles, but aside from Cohen (Sean Penn) loudly insisting he means “progress” Fleischer leaves that theme undeveloped. Even the location shots seem thin, as do the characters; some of the many fight scenes approach vividness and even originality. –KH

The Maltese Falcon (Film, US, Roy Del Ruth, 1931) Sam Spade (Ricardo Cortez) investigates a case involving a legendary statuette and the murder of his detective agency partner. Much more faithful to the novel, and thus the classic ‘41 version, than film lore would lead you to expect, but greatly undercut by Cortez’s portrayal of Spade as a grinning lech.—RDL

Vampire: A Wild Story in Scraps and Colors (Fiction, Hanns Heinz Ewers, 1921; trans. Joe Bandel, 2016) German scholar-adventurer Frank Braun washes up in New York on the outbreak of WW1. He becomes an agent of the Kaiser and embroiled with an exotic Jewish-German adventuress — even as he feels a strange anemia … Braun may be the only major vampire novel protagonist to get less emo when he discovers his condition. Ewers’ prose is lurid and highly colored even for 1921 and yes the blood libel makes an appearance but by and large this weirdly compelling read confounds expectations while not quite fulfilling its promise. –KH

Not Recommended

Broadchurch Season 2 (Television, UK, Chris Chibnall, 2015) As the trial of Miller’s husband for child murder tears the town apart, Hardy (David Tennant) renews his effort to crack the cold case that destroyed his life. Deprecates the investigative aspect of the far superior debut season to trowel on the implausible, overwrought melodrama.—RDL

Ken and Robin Consume Media: Kung Fu Rio Bravo and the Gun-Toting Raccoon

May 9th, 2017 | Robin

Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on our new podcast segment, Tell Me More.


Call of Heroes (Film, HK / China, Benny Chang, 2016) Principled sheriff (Lau Ching Wan) and scruffy martial artist tempted by altruism (Eddie Peng) await the arrival of warriors intent on freeing their warlord boss’ sadistic son (Louis Koo) from the village jail. When you hear “martial arts riff on Rio Bravo from the director of The White Storm, with action direction by Sammo Hung, featuring the aforementioned cast plus Wu Jing,” the only sensible question is, “They don’t screw it up somehow do they?” And I am here to tell you, no, they do not screw it up.–RDL

Colossal (Film, US/Canada, Nacho Vigalondo, 2017) Alcoholic, unemployed, and kicked out by her boyfriend, Gloria (Anne Hathaway) returns to her hometown and discovers that she is somehow linked to a kaiju suddenly materializing in Seoul. A well-crafted, if not very subtle, film about alcoholism gets points for metaphorical boldness, and for the performances by Hathaway and Jason Sudeikis, who plays her childhood friend turned helpful bartender. –KH

Don’t Breathe (Film, US, Fede Alvarez, 2016) Trio of young robbers gets more than it bargained for when its target, a blind army vet (Stephen Lang) living in an otherwise abandoned Detroit neighborhood, turns out to be a terrifyingly buff and competent defender of his hoarded cash. Taut and shudder-inducing inversion of Wait Until Dark has much more going for it than its generic horror marketing campaign wanted to let on.—RDL

Guardians of the Galaxy, Vol. 2 (Film, US, James Gunn, 2017) Ego the Living Planet (Kurt Russell) saves the gang from mercenaries in order to reveal himself as Starlord’s absent father. Comic set-pieces and stylistic verve sub in for plot momentum within a structure that has the heroes discovering their procedural goal only at the top of the final act.—RDL

Judas Country (Fiction, Gavin Lyall, 1975) The civil-air-transportation thriller maybe never had a heyday, but if it did it was right around when Lyall wrote them. Cargo pilots Cavitt and Case get themselves tangled up in gunrunning, fraud, murder, and artifact smuggling in this assured novel that hops from Nicosia to Beirut and Jerusalem. Lyall evokes an almost vanished milieu along with the smell of jet fuel and his trademark flashes of breathtakingly good prose. –KH

Our Little Sister (Film, Japan, Hirokazu Kore-eda, 2015) After the death of their estranged father, a trio of sisters meet their teen step-sister and invite her to live with them. Visually and emotionally beautiful drama realizes its suppressed conflicts with warmth and a masterful lightness of touch.—RDL

The Small Hand: A Ghost Story (Fiction, Susan Hill, 2010) A wrong turn down a country lane leads a London bookhound to a prolonged haunting by a young boy’s ghost. Ably paced novella marries contemporary characterization to the M. R. James school of subtle terror.—RDL


The Millionaire and the Bard: Henry Folger’s Obsessive Hunt for Shakespeare’s First Folio (Nonfiction, Andrea Mays, 2015) Biographical account of the genial, secretive Standard Oil exec who, in tandem with scholarly spouse Emily, amassed the book collection that formed the basis of their Folger Shakespeare Library in Washington DC. Breathes life into the story of the most unassuming super-rich couple ever, injecting suspense into the essentially repetitive rhythm of narrow-field collecting. The dismissive insistence that the Standard Oil breakup was inarguably bad for consumers may send you a-Googling for a fairly rendered opposing view.—RDL


Guardians of the Galaxy, Vol. 2 (Film, US, James Gunn, 2017) Star-Lord (Chris Pratt) and the gang are back, and more laboriously scripted than ever! Gunn’s film works best when it just relaxes into being a big damn pretty comic book, switching between slapstick and music video and shootemups and exasperated space raccoons. It’s when it tries for meaning that it’s undercut, by the enjoyable irony of the rest of the film as much as by the rote dialogue. Gunn also dusts and dulls his magnificent Seventies palette for the last act, which doesn’t help. –KH

Ken and Robin Consume Media: The Most Important Wolf

May 2nd, 2017 | Robin

Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on our new podcast segment, Tell Me More.

The Pinnacle

Hangsaman (Fiction, Shirley Jackson, 1951 / 1964) Repressing an act of traumatic violence, an imaginative seventeen year old attempts to fit amid amid the hothouse environment of a quasi-progressive woman’s college. Elusive, hallucinatory coming of age story invokes the Tarot and a touch of cosmic horror while keeping its feet planted in the literary fiction tradition. Ahead of its time in its feminist perspective, this warrants a slot in the canon of mid-century American existential yearning alongside Salinger, Yates, Roth and company.–RDL


A Dictionary of Medieval Heroes (Nonfiction, Willem P. Gerritsen and Anthony G. van Melle, 1998) Originally published in Dutch, this compendium only covers 87 heroes, but every one gets an in-depth essay covering at least the main textual threads and sometimes a good deal more. In addition to the Arthurian, Nibelung, and Charlemagne cycles, we get the medieval versions of ancients from Alexander to Troilus, plus wonderful weird heroes like Ysengrimus, “the most important wolf in Western European beast epic.” –KH

Bone Tomahawk (Film, US, S. Craig Zahler, 2015) Playing like a beautiful bastard child of The Searchers and The Hills Have Eyes, this horror Western follows Sheriff Hunt (Kurt Russell) and a rudimentary posse to rescue the kidnapped wife (Lili Simmons) of crippled cowboy O’Dwyer (Patrick Wilson) from a band of cannibal troglodytes. The acting and dialogue are first-rate, and the combat sequences brutal and abrupt. Well worth it for fans of cowboys-and-c.h.u.d.s, or of either one, really. –KH

Feud: Bette and Joan (Television, US, Ryan Murphy, 2017) Egged on by wily studio boss Jack Warner (Stanley Tucci), waning screen legends Bette Davis (Susan Sarandon) and Joan Crawford (Jessica Lange) develop a healthy mutual antagonism while shooting What Ever Happened to Baby Jane? Even in the Golden Age of TV, it’s amazing that a show with this concept even exists, much less that it’s as insightful and affecting as it is. Watch the compositions; no show has ever loved its sets the way “Feud” does.—RDL

Which Way is the Front Line From Here: The Life and Time of Tim Hetherington (Film, US, Sebastian Junger, 2013) Portrait of war cinematographer Hetherington, who with disarming charisma covered conflicts in Liberia, Afghanistan, and Libya, where he was killed in 2011. Pays tribute to its subject both as a man and as an artist before, inevitably and properly, succumbing to the narrative power of its final act, in which the hero ignores the warnings and his own rules and is drawn to poetic doom.—RDL


22 Jump Street (Film, US, Phil Lord & Chris Miller, 2014) Odd couple buddy cops (Jonah Hill, Channing Tatum) strain their relationship when their latest undercover assignment pulls them in different directions. Constructs its biggest running gag around the laziness of sequels and wisely keeps the focus on the chemistry of the Hill-Tatum comedy duo.—RDL

Free Fire (Film, UK, Ben Wheatley, 2017) Late-stage capitalism and toxic masculinity walk into a warehouse and a gunfight breaks out. Or rather, slowly dribbles out — the gangsters and terrorists on either side are authentically terrible shots. Despite Wheatley’s clear desire to make a Tarantino-esque film, there’s not much verve or dialogue, and he films the gunfight more as a series of character vignettes than as action sequences. Brie Larson and Cillian Murphy are almost wasted; Sharlto Copley, Armie Hammer, and Sam Riley play louder idiots to better effect. Still, it’s a good joke even if Wheatley takes his own sweet time telling it. –KH

The Peanuts Movie (Film, US, Steve Martino, 2015) Charlie Brown falls for but can’t approach the little red-headed girl; Snoopy battles the Red Baron. Surprisingly faithful translation of the Schulz/Melendez/Mendelson style into the CGI era. The ideal length for Peanuts on screen still seems to be 25 min though.—RDL

Tramps (Film, US, Adam Leon, 2017) Boy meets girl, boy screws up criminal bag drop with girl, boy and girl try to get bag back. Before Sunrise riff showcases charm of its two leads—Grace van Patten in particular has “future movie star” written all over her.—RDL. Seen at TIFF ‘16; now on Netflix.

Mesmerizingly Terrible

The Fear Makers (Film, US, Jacques Tourneur, 1956) Freed P.O.W. (Dana Andrews, dead drunk in every shot) returns from the Korean War to discover that his business partner has been killed, and his PR firm is now engaged in two terrifying new practices: polling and lobbying. Spoiler: it’s the Commies! Talky, set-bound artifact packs a lot of crazy into its micro-budget (a hilariously pro forma romantic subplot, Mel Torme as the sexually harassing office milquetoast), with momentary flashes of trademark style from a clearly down-on-his-luck Tourneur (Cat People, Out of the Past.)—RDL

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