Agatha Christie, 20th-century’s master crime novelist, is the highest-selling novelist of all time.
With 2-billion books sold, she’s behind only the Bible and Shakespeare.
But a quick survey of my inner and outer circles either proves that people in general just don’t read anymore or that pop-culture — in America — has room for Sherlock Holmes but not for Hercule Poirot, Christie’s master sleuth who’s appeared in 33 of her novels and a set of films.
Poirot last appeared in 2013 in Curtain: Poirot’s Last Case with actor David Suchet ending a 24-year turn as the detective for the United Kingdom’s ITV.
Returning to cinemas for the first time 1982’s Evil Under the Sun, Poirot takes on the form of Kenneth Branagh who also directs a a stacked ensemble cast featuring the likes of Johnny Depp, Penélope Cruz, Willem Defoe, Judi Dench, Michelle Pfeiffer, and Daisy Ridley. It could have done no less — watch any crime procedural on television, and you can spot the guilty criminal based solely on the guest star making the cameo.
In Murder on the Orient Express, it takes a village to come up with a master plan.
Continue reading “Syndicated — Murder on the Orient Express Review”
It only took 35 years for Hollywood to create a sequel to Ridley Scott’s Blade Runner — a critical and commercial failure at launch that eventually turned into one of the most influential culture pieces this side of the 20th century.
Not that we asked for a continuation or a reboot — we all know know how those have turned out. Look at what’s happened to the Alien franchise. See Alien: Covenant review here.
When it was first announced, I had my reservations. Blade Runner is one of my most favorite movies. And while I was resigned to accept the notion that no sequel — spiritual or otherwise — would be as good as the first, news of Denis Villeneuve being attached to direct gave me hope that it could come close.
Continue reading “Ghost in the Machines — Blade Runner 2049 Review”
Interesting how this all came about.
While the X-Men movies have basically been Wolverine-centric, it was X-Men Origins: Wolverine that featured the first onscreen appearance of the Merc With a Mouth — Deadpool — who eventually got his own solo movie that made a strong case for R-rated comic-book flicks.
Studios have traditionally shied away from restricting comic-book movies to adults because of financial reasons — toys, merchandise, and a larger audience filled with teens and children.
Which is, by James Mangold’s admission, why The Wolverine ended so badly — Logan fights a robot samurai and loses his claws, which somehow grow back.
Anyways, for what it’s worth, The Wolverine was better than Origins — though that’s not saying much. Origins was incredibly bad, and if I had to sit through it, I’d want the leaked version stripped of its special effects for educational reasons.
Continue reading “The Deepest Cut — Logan Review”