I’ve been hoarding up little thumbnail reviews of books, movies, TV, and music experienced over the past few months—offered up to you here in a long post that hopefully has something for everyone. There’s not as much in the books section just because of all of the sampling I do for Omnivoracious features, the editing (so I’ve been reading manuscripts, really), and the writing. I’m too lazy to provide links—and too busy—but all of this stuff is easy to find.
If a movie or TV show is starred **, we saw it on Netflix On Demand.
(Just a note that I’m currently reading and enjoying the hell out of the 1970s novel The Death of the Detective by Mark Smith—so far, I’d recommend it most highly. I’m also half-way through Chiina Mieville’s Railsea, and I think it’s his most relaxed novel yet—he’s clearly enjoying himself, and I think that helps the reader enjoy the book even more, too. Definitely recommended thus far.)
THE CRONING by Laird Barron. Alas, although I like Barron’s short fiction, this first novel wasn’t that good. From my review on the Amazon sales page: “Unfortunately, this novel is a mess. The main character is tediously boring, the main situation relies on the main character being something of an idiot, and there are chapters and chapters of family history that display very little talent for knowing what is useful and interesting. The rituals described are right out of old pulp fiction. Allusions to Machen et al only spotlight the problems. The last chapters, which are meant to be epic horror, are instead pretty unintentionally hilarious, with a portal described as being as big as a bowling ball and then a hula hoop not helping the atmosphere much. Opening scenes set in Mexico that feature a fairly cliched-sounding university rep and generic detail don’t help. The other problem is that the novel could’ve been written in the 1930s, 1940s, or 1950s, and the author wouldn’t have had to change more than a few words, really. The writing on a sentence level is often good, but can’t save the novel. It’s a real disappointment, as I went in wanting to like this novel very much–I am a fan of much of Barron’s short fiction. I hope the next novel is better.”
VLAD by Carlos Fuentes. I enjoyed this one a lot, with a review forthcoming, so I won’t say too much here except that he manages to mix satire and dark humor with something also very serious and Grand Guignol, and refreshes the vampire trope rather nicely. Creepy and hilarious.
GONE by Mo Hayder. A surprisingly emotional and twisty detective story from a writer who is hit-or-miss for me. Hayder can be great, as in Birdman, or just plain effed up as in Pig Island, which plays out as a horrendous bait-and-switch (first half great, second half from some other novel). Here, she’s done a great job with the characters and writing, and it’s a riveting read but had depth as well.
THE VANISHING by Heidi Julavits. Ann read and really liked this weird fusion of the uncanny and other elements. Psychic attacks. Mysteries from the past. Lots of layering-in of elements from different genres.
2312 by Kim Stanley Robinson. I think it’s no surprise to anyone given prior blog posts that I loved this one to death (with a review forthcoming). As I said commenting as a reader on the Amazon sales page, “2312 is an amazing feat of the imagination: a plausible view of our solar system three centuries from now, one that combines genre and mainstream literary influences to create a rich tapestry of adventure, intrigue, and extrapolation, with strong, strong characters. What holds the whole thing together is the love story—yes, I said it. A love story. As brilliant an interesting a love story as you’re likely to find in all of science fiction. I thought this was the best SF novel I’ve read in the last few years.”
I HOTEL by Karen Tei Yamashita. This book is beyond brilliant. I can’t believe it didn’t win the National Book Award. I could rave about this novel all frickin’ day. It’s a nuanced fusion of both traditional and experimental approaches to fiction, detailing the experiences of Asian American characters and others during the time of social upheaval in San Francisco during the 1960s and 1970s. Composed of ten novellas, each one unique, each one amazing, I Hotel is notable in part for how adroit Yamashita is at negotiating such a complicated landscape with such ease. Despite the weight of the subject matter, there is a lightness to the book, and a clarity, that is remarable. What it illuminates about race, culture, class, and other important issues—and how it takes the didactic and renders it in artistically compelling ways—is stunning. And it beggars in its complexity and its sheer exuberance and compassion and…well, in every other way just about any SF/fantasy novel dealing with similar issues over the past decade. It really underlines for me why it is so toxic and so inbred to just, as a writer or reader, read only SF/fantasy, or only any one kind of approach to fiction. It’s like walking around with only part of your brain engaged. Or walking around with blinders on. Such balkanization leads to all kinds of missed opportunities for cross-pollination and for understanding.
Reminder: the ** means I saw it on demand; those stars aren’t a reviewing scale or anything.
AND SOON THE DARKNESS. A cult British film about two women biking through France who make a series of increasingly stupid decisions with a serial killer on the loose. The annoying thing about this movie is that it holds your attention for the first third, with a kind of growing tension and great use of the landscape…and then it just becomes dumber and dumber until it becomes Super Dumb. Avoid.**
ANTIBODIES. A pretty absorbing German serial killer movie, with the right weight and emphasis given so you care about the people involved. It, however, decides on a kind of semi-mystical ending that involves CGI deer that don’t look real and don’t fit the rest of the flick. Just turn it off right when you see the first deer, and maybe that experience won’t scar you.**
BAJO DEL SAL. A great-looking Mexican serial killer murder mystery that I haven’t finished yet due to deadlines. Also because it looks like it’s setting up one particular individual to be the killer, and he’s not particularly interesting. But definitely worth a look-see, depending on what you want from this kind of movie.**
CABIN IN THE WOODS. Joss Whedon can renovate rather brilliantly at times, but he’s not good at subversion. So in tackling horror movie tropes and putting his subtext on the surface in a ham-fisted attempt at social commentary or satire…all he winds up doing is perpetrating the same clichés he’s trying to make a comment about. The fact is, any bad horror movie already parodies the horror genre, things have gotten so bad in that regard. Whedon would have been better off just trying to create a horror movie that renovated and riffed off the genre instead of this meta-mess.
CAVE OF FORGOTTEN DREAMS. This documentary by Werner Herzog actually wound up not being our favorite, as it seemed to go on a little long and end with white crocodiles for no reason, but the core of it has some breathtaking visuals of the prehistoric cave painting, and Herzog’s ruminations are always great. Worth it for that alone. See it back-to-back with Prometheus. Heh.**