Ken and Robin Talk About Stuff: New Tim Powers, The Dirty Dozen with Samurai, and the Quest for Kim
December 9th, 2025 | 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 a little podcast segment we like to call Tell Me More.
Recommended
11 Rebels (Film, Japan, Kazuya Shiraishi, 2024) Condemned prisoners accept an offer of reprieve to defend a fort long enough for a double-dealing clan to play both sides of the Boshin War. Ensemble cast samurai war film combines classical storytelling with contemporary gore effects.—RDL
Juliet, Naked (Film, US, Jesse Peretz, 2018) Quietly discontented museum curator (Rose Byrne) stumbles into an online epistolary relationship with the obscure retired indie rocker (Ethan Hawke) her lunkhead professor partner (Chris O’Dowd) obsessively idolizes. Hawke reminds us what a brilliant naturalistic actor he is in this winning Nick Hornby adaptation.—RDL
The Mills of the Gods (Fiction, Tim Powers, 2025) In 1925 Paris, American expat artist Harry Nolan gets embroiled with Vivi Chastain, the victim of a Moloch-worshipping body-jumping cult. The narrative ramps up almost too abruptly, and unusually for Powers from only one perspective, with his famous supporting cast (Hemingway, Stein, Picasso) less finely drawn. But the occult doings remain scary and cool, even if this installment reads more as alongside history than within it.—KH
Mountain Onion (Film, Kazakhstan, Eldar Shibanov, 2022) With his mom about to leave his dad for dragging them to the countryside on a disastrous back-to-nature impulse, an intense preteen (Esil Amantay) enlists his unflappable younger sister (Amina Gaziyeva) on a quest to save their marriage by acquiring a box of knock-off Viagra. Refreshes the portrait of rural life genre with bright colors, a comic outlook, and a winning narrative throughline.—RDL
Quest For Kim: In Search of Kipling’s Great Game (Nonfiction, Peter Hopkirk, 1996) Great Game historian Hopkirk follows the path of Kim and proposes specific models for the main characters in Kipling’s Pinnacle spy novel. Reading Kim put Hopkirk on the trail of the Great Game in the first place, and the combination of love and knowledge in this book makes it an irresistible and rapid read.—KH
Good
Ready or Not (Film, US, Matt Bettinelli-Olpin and Tyler Gillett, 2019) Orphan Grace (Samara Weaving) has finally found a family when she marries Alex le Domas (Mark O’Brien), estranged scion of a wealthy games publishing dynasty. As the words “wealthy games publishers” should warn us, they’re in league with Satan, and the resulting bloody game of Hide and Seek provides all the thrills and most of the interest in the film. Watched as a live-action cartoon, it’s fun while it lasts; Weaving isn’t given enough to hang a character on, so that’s all it really can be.—KH
Okay
Nobody 2 (Film, US, Timo Tjahjanto, 2025) Government assassin/wage slave Hutch Mansell (Bob Odenkirk) takes his family (Connie Nielsen, et al.) on vacation to his only good childhood memory, a Wisconsin water park, which turns out to be a front for a murderous smuggling ring led by Lendina (Sharon Stone). The first film worked when it did by contrasting its state-of-the-art violence with a relatively mundane life background embodied by Odenkirk’s schlub character. This one deliberately plunges into a cartoon world almost from the jump, stepping on its few good setups, and even Tjahjanto’s gore-loving camera can’t force much more than the occasional chuckle.—KH
Not Recommended
A Perfect Couple (Film, US, Robert Altman, 1979) A doormat at home but pushy on dates, an eccentric schlub (Paul Dooley) pursues a wan pop singer (Marta Heflin.) With its bizarre gap between the response to the characters it expects from the audience and how it portrays them, and interminable stretches of screen time devoted to an unbearable, untethered-in-time, Broadway-infused MOR band, this might be the weirdest movie Altman ever made. And he made Popeye.—RDL
