THE GOOD SISTER

In a lifeless thriller from the pseudonymous Diamond (The Babysitter, 2001, etc.), two rich sisters fall for an Irish movie star who just might be trying to kill one or both of them.

Jennifer and Catherine would seem to have it all: ownership of one of the world’s most powerful communications companies, a devoted and brilliant executive, Peter, to run everything for them, and a dead father who can’t get in their way. But even the rich and powerful have trouble connecting with people, it seems, and that’s partly why there’s such venomous hatred between the sisters. Jennifer is the mousy one who handles all the boring tech-y details; Catherine is the dazzling beauty who hobnobs with Hollywood types and presents a TV-friendly front for the world. Wouldn’t you know it’s Jennifer who gets swept off her feet by the famous and roguishly charming actor Padraig, whom she marries in record speed? Of course, such a seductive package has its price, and even though Jennifer is thoroughly enjoying all the international romantic romping, Catherine and Peter can’t help but wonder if anything’s amiss after the car Jennifer is driving takes an almost deadly plunge off a road in Italy. Padraig, who is trying to secure funding for his own production company and whose star seems to be on the wane, is their favorite suspect. Blinded by her hormones, Jennifer suspects not a thing, and even though Catherine thinks Padraig’s a killer, it doesn’t prevent her from bedding him behind Jennifer’s back. If all this sounds juicy, flashy, and fun, be assured, it’s not. Diamond has a way of leaching even the most pregnant setup of drama by means of monotonous writing and artless composition. Stale and forced, the whole affair evokes the 1980s and second-rate Danielle Steel.

Filled with beach material but written with the excitement and flair of an economics text.