I read this on the Web back when it was an unsolicited X-Files episode written by Thomas Ligotti. It's the best X-Files episode never filmed. LigottiI read this on the Web back when it was an unsolicited X-Files episode written by Thomas Ligotti. It's the best X-Files episode never filmed. Ligotti threw a lot of his own personal visions into the script, but he also managed to capture Scully and Mulder's unique voices in a lot of very funny dialogue. I was extremely impressed, and still picture it in my mind almost like an episode that I've really seen. Brilliant....more
My wife and daughter and I recently went on a long road trip, and we needed some audiobooks to keep us entertained. The second one we listened to wasMy wife and daughter and I recently went on a long road trip, and we needed some audiobooks to keep us entertained. The second one we listened to was "Hold Tight," by Harlan Coben, read by Scott Brick.
"Hold Tight" started out strong, with a number of intriguing plot elements and a few central mysteries that kept us involved. However, Coben's writing and plotting seemed to get lazier as the book went on, and the last several chapters felt like poorly constructed first drafts. Or an attempt to meet a deadline.
The pontifications on suburban life and the emotional tribulations of being a parent were all relatable, but not particularly interesting. However, my wife and I did get a big laugh out of the line, "Did you sic those Goths on me?"
My biggest problem was with Scott Brick, who read the audiobook. His narration was very good for the most part, but several supporting characters in "Hold Tight" are African-American, and Scott Brick's "blackcent" was so bad it was distracting....more
If you know anything about Daredevil, you know that he really came into his own as a character when Frank Miller took over writing the series.
I've reaIf you know anything about Daredevil, you know that he really came into his own as a character when Frank Miller took over writing the series.
I've read every issue of Daredevil leading up to this volume, and everything that makes him work as a character was already in place before Miller started penciling the series. There were good issues and bad issues before Miller got involved, but the formula was getting stale. Basically, there would always be a soap-opera subplot going on with blind lawyer Matt Murdock (Daredevil's alter ego), or with one of his romantic partners, or with his best friend and law partner Franklin "Foggy" Nelson. This subplot would string along for several issues, but each individual issue would be dominated by a colorful super-villain. Daredevil would do battle with this villain and crack wise like Spider-Man. That was about it.
The first half of this volume only showcases Miller's work as an artist. Roger McKenzie was still writing the series. Miller's first issue as both artist and writer is #168, and with that issue he ret-conned Elektra (the deadly Greek female assassin who is out to avenge her father's death) into Matt Murdock's life. Over the course of the next several issues, Miller created a dense criminal underworld with the Kingpin at its head and the vicious, psychopathic Bullseye as his most dangerous lieutenant. These issues are a joy to read. Plots and subplots are woven together seamlessly, and they have a great sense of griminess and nastiness, which suits the early 1980s NYC setting perfectly. ...more
A good biography makes you feel as if you personally know its subject when you're finished, and that's exactly what this book did. It was written by JA good biography makes you feel as if you personally know its subject when you're finished, and that's exactly what this book did. It was written by Jim Bishop, who was Mark Hellinger's copy boy and later his secretary.
Hellinger was born in New York in 1903. Much to his father's dismay, who wanted him to follow in his footsteps by practicing law and marrying a nice Jewish girl, Mark's sole ambition in life was to become a writer. He eventually became one of the most widely read newspaper columnists in America, along with his close friend Walter Winchell. Prohibition was Hellinger's time and Broadway was his milieu. He knew everybody, and loved everybody. He wanted everybody to love him, too, but hid it under layers of gruffness and humor. He spent money as fast as he earned it. He was a drinker and a gambler who counted many gangsters among his friends. He dressed like an underworld character and married Gladys Glad, a Ziegfeld Girl and one of the most beautiful blondes in a country full of beautiful blondes.
After Prohibition, Hellinger slowly gravitated to Hollywood. When he moved to Los Angeles permanently, he dropped his daily column but kept his full-page Sunday column, and enjoyed a wide readership until his death of coronary thrombosis in 1947 at the age of 44.
His work in Hollywood is what he's best remembered for today. At Warner Bros. he worked frequently with director Raoul Walsh, on pictures like The Roaring Twenties (1939), They Drive by Night (1940), and High Sierra (1941). Hellinger really made his mark when he was sole producer. He bought the rights to Ernest Hemingway's short story "The Killers," and turned it into a film. The Killers (1946) was Burt Lancaster's first film. Hellinger "discovered" Lancaster, and made another film with him, the prison drama Brute Force (1947), before producing one of the first and most important police procedural films, The Naked City, which was released in 1948. He consider The Naked City his best film, and it's certainly his most personal. In addition to being a mystery, it's a love letter to New York that Hellinger narrated himself. It was the first film to be shot entirely on location (with hidden cameras for the street scenes).
This book is mostly episodic anecdotes, and it's a great read....more