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Posts Tagged ‘Ken and Robin Consume Media’

Ken and Robin Consume Media: Maternal Madness and Puzzle Mysteries

September 19th, 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.

Robin has been off at the Toronto Film Festival. Check out his compendium of capsule reviews. Those capsules will reappear here when films get theatrical or home video releases over the next 18 months or so.


Logan Lucky (Film, US, Steven Soderbergh, 2017) In its essentials a country & western Ocean’s 11, like every great cover version this film shows the core strengths of the original while reveling in the joy of a new riff. Channing Tatum and Adam Driver head a low-key superb ensemble cast, outshone only by David Holmes’ incongruous yet satisfying score and Soderbergh’s butter-smooth direction. A less confident director could have turned the comedy into condescension; it’s to Soderbergh’s great credit that instead the West Virginia milieu plays the hero. –KH

Mother! (Film, US, Darren Aronofsky, 2017) A poet (Javier Bardem) seeking a creative spark and his young wife and muse (Jennifer Lawrence) dwell in Edenic isolation until … Beginning as Polanski-esque psychological thriller and veering into full-blown Gnostic Buñuel in the third act, this is an almost paradigmatically Aronofsky film: shot with power and control, about a disintegrating character and the nature of inspiration, and likely to piss off at least half its audience. –KH

Night in Alachua County (Play, Jennifer Rumberger, 2017) Southern Gothic meets necromancy in this tale of three generations of Florida women (there are no male speaking parts) abandoned, abused, and trying to survive on their own terms. The cicada-toned dread builds strong through dark revelations, not all of them magical. — KH (Runs through October 7 in an intimate, eerie production by Chicago’s WildClaw Theatre.)


The Spy and the Thief (Fiction, Edward D. Hoch, 1971) Fourteen Silver-Age mystery stories by the king of the puzzle-story, seven starring British crytpanalyst Jeffery Rand, seven starring smooth “thief of the worthless” Nick Velvet. The Velvet stories are always good, since they usually have a heist to go with the puzzle, and Hoch’s invention gets freer play. The Rand stories remain a mixed bag, although some of them show nice period detail. –KH


The Spy Who Read Latin (Fiction, Edward D. Hoch, 1990) This collection of seven Hoch puzzle mystery stories about British cryptanalyst Jeffery Rand doesn’t show Hoch at his best. The puzzles, which should be naturals for a cryptographer detective, are by and large too simple, and the spy atmosphere is less than convincing. –KH

Ken and Robin Consume Media: A Damn Fine Cup of [REDACTED]

September 5th, 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

Twin Peaks: The Return (Television, US, David Lynch, 2018) Grotesque, otherworldly servitors of good engineer earthly events to awaken FBI agent Dale Cooper (Kyle MacLachlan) from a false existence his evil doppelganger has spun him into to prevent his full emergence from a generation-long stint in the pocket universe known as the Black Lodge. Gobsmacking phantasmagoria of narrative, genre, dream, nostalgia, aging, America dualism, and the myth of [REDACTED.]—RDL


The Brink’s Job (Film, US, William Friedkin, 1978) Played by a posse of magnificent character actors led by Peter Falk, a gang of two-bit lugs stumbles into a perfect crime in 1950 Boston: heisting $2 million from the Brink’s headquarters office. Friedkin manages not just the tightrope of comedy and heist thriller, but also of making working-class dingbats his main characters without condescension. Special mention must be made of Warren Oates’ manic turn as an unstable ordnance expert. –KH

Charlie Varrick (Film, US, Don Siegel, 1973) Small-time bank robber Varrick (Walter Matthau) accidentally steals $750,000 in mob money from a small-time bank in New Mexico, and has to stay two steps ahead of the cops, the Mafia, and his wild-eyed partner (Andy Robinson). A prime example of the surprisingly sparse “actually intelligent protagonist” genre. I’ve already seen this film, which I just watched again on the big screen, but I’m breaking the implied KARCM rules and posting here because it’s one of the best crime films ever made and you, our beloved backers, deserve to know that. –KH

Lovecraft: A Study in the Fantastic (Nonfiction, Maurice Lévy, 1972 (trans. 1988)) In this short work, Lévy prefigures almost every major critical view of Lovecraft that would follow, from the psychoanalytic to the mythopoetic to the antimodernist. Lévy is especially good on the symbol-concept of the Lovecraftian abyss, which encompasses both the underground and outer space. –KH

Personal Shopper (Film, France, Olivier Assayas, 2017) Young woman with mediumistic powers (Kristen Stewart) works as stylist to a temperamental celebrity while waiting for her dead twin brother to send her a message from beyond. Stewart pushes her mannerisms to the limit in this enigmatic supernatural drama about temptation and loss.—RDL

Six Bridges to Cross (Film, US, Joseph Pevney, 1955) When thief and racketeer Jerry Florea (Tony Curtis) uses Boston cop Ed Gallagher (George Nader) as his alibi for an armored car company robbery, their lifelong friendship gets put to the test. Based on the 1950 Brink’s job but more concerned with emotion than criminology, Pevney’s film wins with Curtis’ strong, many-hued performance. –KH


The Steel Trap (Film, US, Andrew L. Stone, 1952) Devoted family man (Joseph Cotten) decides to rob the bank where he works and escape to extradition-free Brazil with his unknowing wife (Teresa Wright) before his employers discover the theft. Part of a cycle of 50s noirs about squarejohn citizens spiraling into criminality, this is at its best when cranking suspense from a succession of tiny logistical hang-ups.—RDL


A Royal Affair (Film, Denmark, Nikolaj Arcel, 2012) English princess (Alicia Vikander) marries the Danish king Christian VII, an unstable twit whose charms dim compared to to their intense, Voltaire-loving court physician (Mads Mikkelsen.) Lushly appointed, often obvious historical drama kept alive by Mikkelsen’s star charisma.—RDL

Not Recommended

The Defenders (Television, Netflix, Douglas Petrie and Marco Ramirez, 2017) Daredevil, Jessica Jones and Luke Cage team up to keep Iron Fist out of the clutches of an ancient international conspiracy. Coasts for a while on the winning characterizations and performances established in Netflix’s first three Marvel shows before it becomes evident that the script needs every writing crutch in the book to fit two hours of story into an eight hour bag.—RDL

Ken and Robin Consume Media: Heists New and Noir

August 29th, 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 occasional podcast segment, Tell Me More.


Drive a Crooked Road (Film, US, Richard Quine, 1954) A femme fatale (Barbara Matthews) lures a lonely race car driver (Mickey Rooney) into being the wheelman for a robbery. Although the tension remains more theoretical than actual, Rooney’s wounded, stoic performance (and a strong villain turn by Kevin McCarthy) carries the film around the corners and down the stretch. –KH

Dunkirk (Film, UK, Christopher Nolan, 2017) Trapped British soldiers evacuate the beach at Mole as civilian boaters cross the Channel in an improvised rescue attempt. Experiential war epic composed almost entirely of suspense beats.–RDL

Kansas City Confidential (Film, US, Phil Karlson, 1952) A perfect crime goes awry when the designated patsy (John Payne) begins to track down the four masked perpetrators. Taut script ratchets the tension steadily demonstrating the power of a strong story and supporting cast (Lee Van Cleef and Preston Foster especially)  even with workmanlike direction on a shoestring budget. –KH

Logan Lucky (Film, US, Steven Soderbergh, 2017) Working class West Virginian brothers (Channing Tatum, Adam Driver) stage an ingenious, low-tech race track heist. Soderbergh ends filmdom’s least plausible retirement with this cheerfully loose, country ham variant on the Ocean’s series. I won’t spoil the comic riff aimed straight at the geek funnybone.–RDL

Plunder Road (Film, US, Hubert Cornfield, 1957) Five men rob a gold shipment from a government train in a pouring rainstorm and 13 taut, dialogue-free minutes of film. As in many great noirs, the camera lovingly fixates on the mechanism of the crime, in this case on the trucks used to heist the bullion and to try and run it from Utah to California. A veteran cast including Gene Raymond and Elisha Cook, Jr. drives the heist-realité scenario to a strong finish. –KH


Classe Tous Risques (Film, France/Italy, Claude Sautet, 1960) After his escape from a robbery goes wrong, gangster Abel Davos (Lino Ventura) turns to his former Vichyite partners for assistance, triggering the slow-motion destruction of their comfortable postwar lives. Jean-Paul Belmondo plays a young driver and hood who for reasons that remain opaque becomes Davos’ friend. After a high-test first act, the rest of the film settles into a more contemplative slow burn. –KH

Game of Thrones Season 7 (Television, US, HBO, David Benioff & D. B. Weiss, 2017) With the board swept of minor players, factions vying for control of Westeros prepare to square off—but the White Walkers have other ideas. An admirable shift to brisker pacing, plus the show’s most thrilling set piece sequence, give way to a final two episodes that will stand forever in the annals of idiot plotting.—RDL


Dragnet (Film, US, Jack Webb, 1954) Full-color spinoff of the long-running police procedural TV show, playing like a somewhat more violent two-hour episode. Most interesting as camp fodder or as a look into Webb’s idea of what a cop movie should be, with a few wild swerves but (aside from an affecting but incongruous scene with Virginia Gregg as the victim’s widow) not much meat. –KH

Ken and Robin Consume Media: Zombies, Mutants and a Post-Con Nap

August 22nd, 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

GenCon (Convention, US, Peter Adkison, Adrian Swartout, et al., 2017) shhh … don’t wake the podcasters … they’re very very tired … shhh –KH & RDL

The Girl With All the Gifts (Film, UK, Colm McCarthy, 2016) The titular girl is Melanie (Sennia Nanua) and among her gifts are politeness, eidetic memory, and symbiosis with the zombie plague. What could have gone wrong or remained routine with a lazier treatment becomes a mythic journey worthy of Matheson and Romero. Gorgeously lensed by Simon Dennis, and surgically scripted by M.R. Carey, this is easily the best zombie film since 28 Days Later. –KH


Logan (Film, US, James Mangold, 2017) An aging Wolverine intent on protecting an ailing Professor X becomes grudging protector to a young girl whose healing powers, and claws, echo his own. To make an elegiac super-hero movie, Mangold looks to the elegiac western for a story dense with parental bonds, few of them literal.—RDL

Orphan Black Season 5 (Television, Canada, Graeme Manson and John Fawcett, BBC America) As the supposedly immortal founder of Neolution (Stephen McHattie) steps from the shadows, the clones (Tatiana Maslany) make a final bid for freedom. In a great example of a concluding season done right, the show narrows the focus of its conspiracy plotline and saves plenty of room for character beats.–RDL


By the Gun (Fiction, Richard Matheson, 1993) Reprinting four of Matheson’s Western tales from the 1950s magazines with two more recent stories, this collection shows off a sure hand with plot and character, but without the startling originality of Matheson’s horror and SF. Even in the 1950s, the prose Western was descending into kabuki, though, and these still perform well. –KH

Folktales of Brittany (Nonfiction, Elsie Masson, 1929) Quest and faerie motifs predominate in this selection of folk stories from France’s most distinctively haunted region. Packed with bizarre imagery, told in an accessible if sometimes twee fairy tale voice. If Gary had read this in 1977 we’d all own miniatures of snake-maned lions.—RDL

The Republic of Cthulhu (Nonfiction, Eric Wilson, 2016) Wilson applies somewhat jargon-y theory to Lovecraft, seeing in HPL’s anti-Kantian marriage of the sublime and the grotesque a model or precursor poetics of parapolitics; the recognition that humanism is as dead in political theory as it is in science and art. One doesn’t have to follow Wilson all the way to any of his conclusions (and his gibbering about 9/11 is particularly unproductive) to find valuable insights into Lovecraft’s aesthetics and its commonalities with both clandestine politics and conspiracist poetics. –KH

Engagingly Terrible

The Return of Dr. X (Film, US, Vincent Sherman, 1939) Maverick reporter stumbles onto the trail of a death-reversing doctor and his monstrous first subject (Humphrey Bogart), who happens to be the madder of the two scientists. Wisecracking journalist mystery that takes a swerve into sci-horror is infamous for the worst miscasting in cinema history, saddling Bogey with a role that should have gone to Lorre or Lugosi. It also shows how much assured direction, here from undersung stylist Sherman, can do to turn a nonsense pile of script pages into something watchable.—RDL

Ken and Robin Consume Media: A Blonde, Some Apes, and Boccaccio

August 8th, 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.


Atomic Blonde (Film, US, David Leitch, 2017) Taking the neon gloss from Drive, the brutalist violence from Oldboy, the action tracking shot from Children of Men, the soundtrack from my mixtape circa 1988, and the plot from a random jar of jellybeans, Leitch’s first solo film makes a virtue of its amphigorous nature. Without Charlize Theron’s literally long-suffering performance, this would be shiny but forgettable; with her anchoring it, it leaves a deeper bruise. –KH

Detroit (Film, US, Kathryn Bigelow, 2017) A dozen characters’ lives cross at the Algiers Motel during the 1967 Detroit riots. The first three acts, filmed in verite Steadicam, build toward an intensely horrifying scenario that the more impressionistic finale doesn’t really pay off, but not every true story ends in catharsis … which is kind of the point. –KH

Letters to Arkham: The Letters of Ramsey Campbell and August Derleth 1961 to 1971 (Nonfiction, S.T. Joshi, ed., 2014) Painfully adolescent horror nerd Campbell writes to his hero’s publisher, and a strange friendship develops, ended only by Derleth’s death. You can almost taste Derleth’s seemingly instant decision to pay Lovecraft’s kindness to him forward, and his reward for his decency was the blossoming of the true successor to HPL that Derleth could never become. Poignant and revealing, with an affecting afterword by Campbell. –KH

The Little Hours (Film, US, Jeff Baena, 2017) In medieval Italy, a fugitive from his cuckolded master’s justice (Dave Franco) poses as a convent’s new deaf mute handyman, arousing the ardor of a trio of less than dedicated young nuns (Alison Brie, Aubrey Plaza, Kate Micucci). Boccaccio adaptation uses contemporary dialogue and cadence to keep period fustiness at bay. John C. Reilly stands out among a strong comedy cast as a lax, befuddled priest.—RDL

War For the Planet of the Apes (Film, US, Matt Reeves, 2017) Ape leader Caesar (Andy Serkis) forsakes his people for a quest of personal vengeance against megalomaniacal human military commander (Woody Harrelson.) Although John Ford leads the pack as a reference point here, you could structure an entire undergrad course around this fantasy action thriller’s densely layered selection of historical, cinematic and biblical allusions.—RDL


The Graveyard Apartment (Fiction, Mariko Koike, 1993) Supernatural manifestations slowly escalate after a Tokyo couple with a young daughter moves into an apartment in an oddly under-occupied new building overlooking a cemetery and crematorium. Follows the current fashion of undergirding the haunted house tale with real estate anxiety and the J-horror technique of mixing the horrifying with the mundane. Finds an array of novel ways for ghosts to torment the living.—RDL

The Trip to Spain (Film, UK, Michael Winterbottom, 2017) Somewhat fictionalized versions of Steve Coogan and Rob Brydon again use a restaurant tour, this time of Spain, as an opportunity to riff, needle one another, and one-up each other’s impressions. The badinage never quite explodes into a comic set piece this time, leaving room for a heightened dose of the melancholy strain found in the series’ previous installments.—RDL

Quiet Please, Murder! (Film, US, John Larkin, 1942) While trying to tie off loose ends from a sale of a forged Shakespeare folio to a Nazi agent, a fence (Gail Patrick) gets trapped in a public library between her lover the forger (a super-oily George Sanders), the Nazis, and a private eye (Richard Denning). Weirdly zippy proto-noir rockets along on bottle drama and book-stack chases with the occasional languorous pause to discuss Freud and masochism. –KH


The Alexander Inheritance (Fiction, Eric Flint, Gorg Huff, and Paula Goodlett, 2017) A top-of-the-line cruise ship is somehow teleported back in time to the Mediterranean in 321 BC and gets involved in the wranglings of Alexander the Great’s successors. Flint’s collaborators haven’t got his bravura ability to bang out prose that keeps the pulse and pages racing, so the lack of real characters (aside perhaps from Queen Roxane) or dramatic payoff is much more noticeable here; the too-numerous points of view and the abrupt ending imply this is intended as the first in an endless 1632-style series. –KH

Ken and Robin Consume Media: French Murder, American Bunco

August 1st, 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.


Deadlier Than the Male (aka A Time for Murder) (Film, France, Jean Duvivier, 1956) Beloved chef (Jean Gabin) fails to suspect a grift when he welcomes his ex-wife’s daughter (Danièle Delorme) into his home. Gallic noir builds to some sharply lurid sequences while giving its femme fatale greater complexity than the archetype generally affords.—RDL

Denial (Film, UK, Mick Jackson, 2016) When holocaust denier David Irving (Timothy Spall) sues her for libel in a British court, American academic Deborah Lipstadt (Rachel Weisz) finds it hard to trust her legal team’s buttoned-down strategy. David Hare’s script finds the throughline for this real-life legal procedural in the clash between passionate truth-telling and dispassionate pursuit of victory.—RDL

The Mark Inside: A Perfect Swindle, a Cunning Revenge, and a Small History of the Big Con (Nonfiction, Amy Reading, 2012) In the late teens and early 20s, Texas rancher J. Frank Norfleet, swindled by a team of confidence men in a classic big con, fills his holsters with guns and embarks on an epic quest to find them and put them all away. Reading separates truth from embellishment in this engaging historical account, which widens out as needed to tell the story of American swindling from Ben Franklin’s day to the opening decades of the 20th century.—RDL

Spider-Man: Homecoming (Film, US, Jon Watts, 2017) Peter Parker’s efforts to prove himself to newfound father figure Tony Stark get him in over his head with a crew of super-tech hijackers led by a disgruntled small businessman (Michael Keaton.) Have to admire a take on a mega-tentpole franchise that says, “You know what this property really needs? A smaller scale and lower stakes,” and then delivers on precisely that.—RDL

Things Fall Apart (Fiction, Chinua Achebe, 1958) Bullying Igbo patriarch’s determination to prove himself unlike his feckless father faces the ultimate obstacle when white men arrive to introduce their religion and impose their law. Complicates its narrative of cultural dissolution under colonialism by presenting it through the perspective of a profoundly flawed protagonist.—RDL


Told After Supper (Fiction, Jerome K. Jerome, 1891) Short linked collection of comic ghost stories that mostly exist to subvert the stereotypical Victorian “Christmas ghost story” narrative. Jerome’s prose bounces along and it’s a rapid, short read, but I suspect most people haven’t read enough bad Victorian ghost tales to get much charge from his gentle parody. –KH

Valerian and the City of a Thousand Planets (Film, France, Luc Besson, 2017) Based on a comic I haven’t read, Besson’s bright, optimistic SFstravaganza stars Cara Delevingne (surprisingly good in the role) and Dane DeHaan (thickly unappealing) as agents of the Human Federation drawn into a nefarious, and somewhat over-exposited, plot. Very much the successor of Besson’s zany and underrated Fifth Element, Valerian has much the same energy and momentum, though slightly less anarchic freedom. If you love Besson’s vision like I do, call it Recommended, but Dane DeHaan is sadly no Bruce Willis. –KH

Ken and Robin Consume Media: The Quatermass Evacuation

July 25th, 2017 | KenH

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

Dunkirk (Film, UK/US, Christopher Nolan, 2017) Expertly and constantly building tension for 100 minutes across three braided timelines moving at different speeds, Nolan uses minimal dialogue and Hans Zimmer’s overwhelming score to tell three men’s stories as synecdoche for the whole evacuation. Everything about the film is technically masterful, but I could single out Mark Rylance’s performance and the air combat scenes, starring a restored Supermarine Spitfire Mk.IA that Nolan loves like no man has ever loved an airplane. –KH


Curry; A Global History (Nonfiction, Colleen Taylor Sen, 2012) Mouth-watering in its concision, this account shows how an infinitely adaptable meal concept, formed by conquest and propelled by diaspora diffused through most of the world. Of the foods mentioned here I was pleased to see that about the only one I can’t hunt down and eat here in Toronto would be the Africaner  variety.—RDL

The Eternal Champion (Fiction, Michael Moorcock, 1970) John Daker, the iteration of an eternally extant, thousand-faced hero who apprehends his true nature, is drawn to a war-ravaged earth to once more become Erekosë, a death-dealing champion who’s maybe a touch slow to recognize the genocidal intention of his royal summoner. This is the book in which Moorcock grapples most directly with the contradictions of his antinomian perspective and his interest in Campbellian heroism. All of us working in the fantasy genre could stand a refresher look at his ability to blend heightened language with storytelling concision.—RDL

I Blame Dennis Hopper: And Other Stories from a Life Lived In and Out of the Movies (Nonfiction, Ileana Douglas, 2015) Mentioning her personal life only to the extent necessary to make the stories work, the always-memorable character actress cues up her best anecdotes. Covers her bond with movie star grandfather Melvyn, numinous encounters with Peter Sellers, Lee Marvin and Roddy McDowall, and the professional side of her long relationship with Martin Scorsese.—RDL

Into the Unknown: The Fantastic Life of Nigel Kneale (Nonfiction, Andy Murray, rev ed 2017) A biography nearly worthy of its subject, perhaps the greatest TV writer of the 20th century. Murray provides as much insight into Kneale the man as he can, but focuses (as Kneale would not have) on the scripts that shaped two genres on small screens and large. Future biographers may be able to go deeper into the toxic bureaucracy of the BBC, but Murray gets extra points for lengthy summaries and discussion of now-lost masterpieces such as The Road and The Year of the Sex Olympics. –KH

Quatermass and the Pit (Nonfiction, Kim Newman, 2014) In this volume of the BFI Film Classics series, Kim Newman provides his customary detailed and discursive attention to Roy Ward Baker’s 1967 triumph. After a thorough breakdown of the earlier incarnations of Nigel Kneale’s hero, Newman follows the film scene by scene, pointing out good work by director, actors, and Kneale’s script, reinforcing its position as the best of the Quatermass films, and perhaps the Professor’s best single outing. –KH

Saving Mr. Wu (Film, China, Ding Sheng, 2015) Beijing police scramble to locate and rescue a Hong Kong movie star (Andy Lau) from ruthless kidnappers. Fractured chronology and a visual style inspired by latter-day Michael Mann add layers to this police procedural thriller.  The role of stalwart police captain hunting the bad guys is played by the victim in the real case that inspired the film! —RDL


Requiem at Rogano (Fiction, Stephen Knight, 1979) Conspiracy theorist Knight’s only novel is a murder mystery set in 1902. A retired Scotland Yard inspector and his historian nephew discover eerie links between the ongoing Deptford Strangler murders and a series of stranglings in Rogano, Italy in 1454. And then things get downright weird. Alternating between the hoariest of Edwardian detections and po-faced occultism shouldn’t work, and for patches it doesn’t, but it pulls together at last in a denouement that weirdly plays fair with the reader despite all the hugger-mugger. –KH

Under the Shadow (Film, UK/Qatar/Jordan/Iran, Babak Anvari, 2016) This psychological ghost (or technically, djinn) story mirrors the internal disintegration of frustrated mother Shideh (Narges Rashidi) with the external terror of wartime 1988 Tehran under the Ayatollah. Excellent sound design and cinematography only go so far, and the elongated ending dissipates much of the tension the naturalist first two acts builds up. –KH


Vir Das: Abroad Understanding (Stand-up, Netflix, 2017) Intercuts Indian comedian/actor Das performing the same act for a stadium in Delhi and a basement comedy club in New York: like much of Das’ material, better in concept than delivery. Occasional chuckles marble the earnestness; Das is best in his moments of wry irony. –KH

Not Recommended

Child 44 (Film, US/UK, Daniel Espinosa, 2015) Very loosely based on the Andrei Chikatilo murders, this sort-of detective sort-of thriller admirably drowns us in Stalinist murk but by about the 90-minute mark woolen aesthetics and ridiculous Russian accents smother what little life or momentum the film possesses. Tom Hardy mostly stares uncomprehendingly throughout, not a good look for a detective. –KH

Ken and Robin Consume Media: Spidey, Big Sick and the Cash That Brings Doom

July 18th, 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 Big Sick (Film, US, Michael Showalter, 2017) When the girlfriend (Zoe Kazan) who recently broke up with him when she realized he’d been hiding her from his traditionalist parents falls sick and is placed in a coma, comedian Kumail Nanjiani (Kumail Nanjiani) awkwardly bonds with her worried parents (Holly Hunter, Ray Romano). Based on the marriage origin story of Nanjiani and co-writer Emily Gordon, this touching and funny comedy-drama holds fast to its sense of real lives lived.—RDL

Fool’s Gold (Fiction, Dolores Hitchens, 1958) A pair of young crooks in the classic sociopath plus follower pairing decide to steal a cache of money stored in an old spinster’s house, even if it was left there by a tough character from Vegas. Noirish suspenser of strongly characterized and mostly terrible people making terrible decisions, to results that spin out of control in unpredictable ways, Later adapted, all but unrecognizably, into Godard’s most entertaining film, Band of Outsiders.—RDL

Grunt: The Curious Science of Humans at War (Nonfiction, Mary Roach, 2016) Survey of US military science projects that aim to protect soldiers delves into such topics as stink bombs, submarine survival, the biomechanics of heat prostration, and why shark repellent isn’t a thing. When a horrible fly creature shows up in “The Wars” segment of the Yellow King RPG, you’ll know to thank Mary Roach, who gives breezy pop-sci a good name.—RDL

Spider-Man: Homecoming (Film, US, Jon Watts, 2017) The secret to a good superhero movie is to make a good movie and put a superhero in it: this is a good high-school comedy with Spider-Man (Tom Holland) in it. With the addition of Michael Keaton’s blue-collar, relatable Vulture as the refreshingly not-idiotic villain, it becomes fully Recommended; Watts cheats the Marvel formula by skipping the origin and focusing on the goofy fun of web-slinging. –KH


Two Bottles of Relish: The Little Tales of Smethers and Other Stories (Fiction, Lord Dunsany, 2016) A lovely edition of Dunsany’s 1952 collection of mystery and crime short stories starts off very, very strong with the classic title story. The rest of the tales don’t show off Dunsany’s effortless prose like his fantasies did, but are worth reading for fans of somewhat old-fashioned detective-story formalism and occasional grue. –KH


Keanu (Film, US, Peter Atencio, 2016) Surburban cousins (Jordan Peele, Keegan-Michael Key) pose as murderous drug dealers in an effort to retrieve the titular adorable kitten. Puts the sensibility of the Key & Peele sketch show through the studio blanderizer, which might not be noticeable with a higher  jokes per minute ratio.—RDL

Stranger on the Third Floor (Film, US, Boris Ingster, 1940) Reporter who testifies against a young man (Elisha Cook Jr.) accused of murder falls into a doubt freak-out after his conviction, beginning to suspect the weird, murdery-seeming man with the scarf (Peter Lorre) he spots hanging around the neighborhood. Slim script both enlivened and somewhat overloaded by a feverish blast of film noir expressionism, including a dream sequence that stops just one step short of the full Caligari.—RDL

Ken and Robin Consume Media: Tinker, Tailor, Anarchist, Theosophist

July 11th, 2017 | Robin

Before we get to our regularly scheduled capsule reviews, let us contemplate the fact that ENnies Voting is now open. If you’d like to show your appreciation for our occasionally humble podcast in voting form, scoot on over to the ENnies voting page and take part in a free and fair election. While there one might also note the various nominations for Bubblegumshoe, which Ken worked on and Robin has his name on, plus nods for TimeWatch and other fine products from our essential sponsors at Pelgrane Press.

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 International Spy Film Guide 1945-1989 (2 vols) (Nonfiction, Richard Rhys Davies, 2016) Two volumes, 1100 pages, 2,240 films from 65 countries. This compendium of every Cold War (by year of production, not by setting) secret agent film you’ve ever and never heard of breathes mid-century style from each beautifully designed page. Each film gets a brief review, numerical rating, bare-bones credits (director and stars), a beautiful full-color poster, and its release name in other countries: more than enough in this Google-enhanced age. –KH


Doctor Who Season 10 (Television, UK, Stephen Moffat, BBC, 2017) Though he has promised to stay on earth to guard an imprisoned Missy, the Doctor can’t help taking the TARDIS for a spin or twelve when he takes a shine to new earth friend Bill Potts (Pearl Mackie.) Sure, there’s some duds in the middle, but this is the season where Peter Capaldi gets to truly settle into the title role, and the two Masters plus original Cybermen finale leaves on a high note. Great to see John Simm given the chance to play a truly menacing Master this time around.—RDL

GLOW Season 1 (Television, US, Liz Flahive, Carly Mensch & Jenji Kohan, Netflix, 2017) Struggling actress Ruth (Alison Brie) and friend Debbie, a soap star turned mom (Betty Gilpin) get cast in a low-budget women’s wrestling show. Complication: Debbie just found out that Ruth slept with her husband. Amiable comedy-drama pays homage to the foursquare storytelling of 80s cinema while keeping its characters real. Though this is an odd thing to say about a show with a strong, female-dominated cast, the standout performance comes from Marc Maron, hilarious and poignant as the sardonic, chronically disappointed director.—RDL

Harold and Lillian: a Hollywood Love Story (Film, US, Daniel Raim, 2015) Documentary reveals the professional and personal lives of storyboard artist (later production designer) Harold Michelson and his wife, studio researcher Lillian Michelson. Throws light on the invisible but key contributions the two Michelsons made to dozens of classic films from the 60s to the 00s, while movingly depicting their marriage and influence on the next generation of film folk.—RDL

Inferno (Nonfiction, August Strindberg, 1897) Memoir recalls the writer’s abandonment of theater for alchemy, accompanied by a descent into a persecution mania in which he believes himself tormented by an unseen force, demons, spirits, conspirators and/or theosophists. Remarkably lucid inside view of an intensely sub-rational mental state. And yeah, the alchemy part is in Paris in 1895.—RDL. Thanks to Erik Otterberg for the recommendation.

Silicon Valley Season 4 (Television, US, Mike Judge, HBO, 2017) Setbacks in the latest iteration of Pied Piper bring out Richard’s long-latent dark side. What seems like a scattered but still hilarious set of individual episodes reveal a hidden organization behind a season that speeds the pace of the characters’ ups and downs.—RDL

Weirdos (Film, Canada, Bruce McDonald, 2016) Nova Scotian teen who hasn’t quite come out yet takes his putative girlfriend to the slightly bigger city, where he hopes to stay with his troubled mom (Molly Parker.) Sweet and determinedly unheightened, even in the bits where a spirit guide version of Andy Warhol gives advice to the hero, and drenched in 70s folk rock.—RDL


American Anarchist (Film, US, Charlie Siskel, 2016) In an extended interview conducted in the subject’s home in rural France, documentarian Siskel tries to get the thoughtful, caring man who as a 19 year old wrote the bomb-making manual Anarchist’s Cookbook to fully grapple with its consequences. Interview format turns on two tensions: between filmmaker and subject, and between present-day William Powell and his radical younger self.—RDL

The Beguiled (Film, US, Sofia Coppola, 2017) Coppola’s films usually focus on a woman in an artificial society when that society faces disruption; here Edwina Morrow (Kirsten Dunst) is a spinster teacher at a girls’ school in 1864 Virginia, which faces disruption in the person of wounded Union corporal McBurney (Colin Farrell). Shooting the school as a luminous endangered vessel rather than as the Gothic hothouse of Don Siegel’s superior 1971 film of the novel, Coppola produces another oblique vision — lovely but not moving. –KH

Chicago: The Second City (Nonfiction, A.J. Liebling, 1952) In three essays in the New Yorker (collected with illustrations by Saul Steinberg) Liebling castigated Chicago as “a vast Canarsie:” provincial, defeated, and most importantly to the unhappily exiled Liebling, most definitely Not New York. Liebling’s writing remains terrific, and 1950 was in truth not a great year for the Greatest City In the World. But how do you spend a year, even 1949-50, in Chicago and never mention jazz? –KH

Ken and Robin Consume Media: Bad Batch Leads a Bumper Batch of Baby Drivin’ Reviews

July 5th, 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 Bad Batch (Film, US, Ana Lily Amirpour, 2017) Sentenced as an undesirable to a vast, lawless Texas internment zone, a young woman (Suki Waterhouse) plans vengeance against the cannibal community that cut off and ate her arm and leg. Visually bold, sometimes shocking post-apocalyptic western. With Jason Momoa as the main people-eater, Keanu Reeves as a local potentate who looks like Andy Kaufman’s Tony Clifton character, and an unrecognizable Jim Carrey in the old coot role.—RDL. Seen at TIFF ‘16; now in theatrical release.

Baby Driver (Film, US, Edgar Wright, 2017) Preternaturally talented wheelman who needs tunes to keep him steady (Ansel Elgort) seeks escape from his role as a getaway driver under the command of criminal mastermind Doc (Kevin Spacey) and his rotating crew of armed robbers. Leveling up in his mastery of pure cinema, Wright delivers a classic title to both the crime and the car movie canons.—RDL


Baby Driver (Film, US, Edgar Wright, 2017) A multi-decadal blend of film style and music surrounds and carburets the propulsive story of a getaway driver named Baby (Ansel Elgort), the girl he loves (Lily James), and the One of Many Last Jobs he has to pull. As a deconstructed musical, it works even better than it does as a heist film. Wright’s setting shots vie with the stunt action for sheer beauty, with only a few tonal wobbles glitching the sweet sweet ride. –KH

Barking Dogs Never Bite (Film, South Korea, Bong Joon-ho, 2000) Flailing academic triggers a spiral misfortune when he resolves to dispose of that incessantly yapping dog from a neighboring apartment. Looser, more naturalistic, and of course less fully resourced than the films he makes now, Bong’s debut finds his themes and love of the chase already in place.—RDL

The Beast: Riding the Rails and Dodging Narcos on the Migrant Trails (Nonfiction, Oscar Martinez, 2013) First person journalistic account depicts the hellish gauntlet Central Americans run in their bid to bypass US border controls. From the high rate of death and dismemberment dealt out by the titular freight train to the horrific predation at the hands of the Los Zetas criminal empire, Martinez shows how the last legs of the journey will always pale in comparison to the trek across Mexico.—RDL

Better Call Saul Season 3 (Television, AMC, Vince Gilligan & Peter Gould, 2017) Jimmy falls into a trap his brother Chuck sets for his law license; Mike meets intimidatingly contained drug dealer Gus Fring (Giancarlo Esposito.) By fragmenting into two shows, one a gripping family legal drama; the other, a directionless and unnecessary prequel to “Breaking Bad”, season 3 drops from masterpiece to merely solid.—RDL

The Black Room (Fiction, Colin Wilson, 1971) Wilson again tackles his great theme, the achievement of true consciousness, this time as the great secret in a spy novel. Modernist composer Kit Butler (surely the most oddly recondite spy in British fiction) proves extraordinarily capable of withstanding the “black room” of the title, a sensory deprivation chamber, and thus travels to Prague to draw out “Station K,” a third-force conspiracy using it. Weirdly pivots from able espionage plot to frame story to philosophical discourse to peak moment in prime Wilsonian fashion. –KH

English Gothic (Nonfiction, Jonathan Rigby, 2nd ed. 2015) and Euro Gothic (Nonfiction, Jonathan Rigby, 2016) Everything you might want in a textbook approach to horror film, of Britain (since 1953) and Western Europe (mostly France, Germany, Spain, and Italy) respectively, appears herein: reasonably complete coverage, opinionated without being eccentric, and a clear narrative to accept or modify as the reader wishes. It’s a trifle conservative, but that’s no bad thing in horror or indeed in art criticism, and it means the classics get their due respect as well. Each of the 100-odd highlighted films in each book gets a period review and a brief quote from one of its makers, an excellent touch. Finally, the rich selection of stills and the superb book design make both volumes worthy objects in themselves. –KH

The Modern Russian Army 1992-2016 (Osprey Elite 217) (Nonfiction, Mark Galeotti, 2017) Galeotti provides a clear, accessible review of the revival and rise of the post-Soviet Russian Army, with an especially incisive discussion of the 2008 Georgian War as the equivalent of the Grenada invasion for the purposes of forcing much-needed reforms on the military. Syria and the Donbass receive less coverage than a contemporary reader might wish for, but the usual excellent Osprey job of illustration and comprehensiveness make this a solid volume on Europe’s once and future deadliest army. –KH

Okja (Film, US/South Korea, Bong Joon-ho, 2017) Preteen girl raised in the bucolic wilds of Korea must run to Seoul and then NYC to protect her childhood buddy, a genetically-altered, corporate-owned, hippo-like sapient “super-pig.” Satirical fantasy thriller masterfully shifts gears and genres, blending pastoral idyll, kinetic action and over-the-top-of-over-the-top performances from Tilda Swinton and Jake Gyllenhaal.—RDL


Quatermass in Television and Movies (Nonfiction, Mark F. Cain, 2016) After a too-short discussion of the character and influence of Nigel Kneale’s Professor Quatermass, Cain summarizes (or rather, half-summarizes, as he weirdly tries to avoid spoilers) and briefly reviews the ten appearances of the Professor in TV, film, and radio since 1956. Fine (even Good) for its length, but since it’s essentially the only book on Quatermass it should be considerably longer, with more detailed description, iconic analysis, and cultural-studies meat to it. I would have happily paid more than the $0.99 this cost me for that book. –KH


Folk Horror: Hours Dreadful and Things Strange (Nonfiction, Adam Scovell, 2017) A fairly complete survey of the retroactive genre of “folk horror” film typified by Witchfinder General, The Wicker Man, and Blood on Satan’s Claw. (The only major omission is Bille Eltringham’s stunningly underrated survival horror film This Is Not A Love Song.) Given the asinine failure of the BBC to make their DVDs Region-1 available (many BBC teleplays are crucial genre texts), having a good British guide is more important than in other genres. Scovell knows the territory and even hazards a critical standard for the genre — but the writing is actively abysmal. Every page becomes a bear trap of tangled prose, malapropisms, and sentences that even I think go on way too long. The index is bad, too, and the footnotes risible. –KH

Not Recommended

Powerless Season 1 (Television, US, NBC, 2017) Given that “Vanessa Hudgens office comedy set in the DC Universe” is a pretty soft lob right to me, it pains me to report that despite a great supporting cast (including Alan Tudyk as Van Wayne, Bruce’s spoiled and envious cousin who is canon by the way) the series never recovered from the departure between pilots of its creator and first showrunner. The resulting desperately loud and tone-deaf scripts seldom relaxed into the inanity of their setting: when your comic-book show is less surreal than 30 Rock, you need to rethink. But not any more, because you got cancelled. –KH

Film Cannister
Cartoon Rocket
Flying Clock
Film Cannister