The inconclusive ending validates our worst fears: There could be a sequel.
A serial killer arrives at the Cannes Film Festival, in New Age guru Coelho’s listless thriller (Brida, 2008, etc.).
Igor, the protagonist and villain, is a veteran of the Afghan wars, a post-Soviet mobile-phone mogul and a self-confessed workaholic. He has come to Cannes intent on winning back his ex-wife, Ewa, who’s now married to superstar designer Hamid Hussein. Ewa left Igor (he rationalizes) because as a power couple—she’s a successful fashionista—they had no private life. Knowing his ex and Hamid will attend Cannes with the other glitterati, Igor plans to convince Ewa of his ardor by “destroying universes,” aka killing people. The body count begins with Olivia, a beachside jewelry vendor, followed by Javits, a kingpin film distributor, then Maureen, an independent film director hoping to pitch Javits. As Igor dispatches his capriciously chosen targets throughout the day, he texts cryptic notes to Ewa. The de rigueur novelty murder methods are employed: martial arts, curare, an anatomically aimed stiletto, cyanide gas. Potential victims include Jasmine, a young model about to be discovered by Hamid, and Gabriela, an aspiring actress who’s plucked from wannabe ranks to costar in a new film venture bankrolled by Hamid. These vapid young lovelies, awed and humbled by their impending induction into the “Superclass,” never miss a chance to pontificate about the ultimate pointlessness of champagne-soaked soirees. Dead Olivia becomes a benevolent spirit guide for Igor, transforming his zeal to reclaim his ex into sanctimonious recriminations over having killed for Ewa, which then, through a leap of illogic, turn into self-righteous resistance to the “temptation” to stop killing for her. (Confusing? No, Coelho.) A promising antagonist, Morris, a retired Scotland Yard detective consulted by panicky Cannes gendarmes, is close to profiling the killer but then, inexplicably, gives up.
The inconclusive ending validates our worst fears: There could be a sequel.Pub Date: April 7, 2009
ISBN: 978-0-06-175044-1
Page Count: 368
Publisher: Harper/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2009
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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