Nifty bullfighting scenes do not redeem an otherwise cliché-cluttered narrative. For die-hard fans only.
The creakiest exercise yet in American Bond fan Benson's postmodern resurrection of Ian Fleming's peerless killer spy, has an embarrassingly witless 007 going rogue to fight a dastardly multinational crime cartel.
Two months after the calamitous conclusion of High Time to Kill (1999), Bond is still depressed over the death of lover Helen Marksbury. He's also on medical leave, under the care of comely Dr. Kimberely Feare, taking pills that are supposed to heal a brain lesion but do little more than leave him paranoid and prone to blackouts. Unknown to Bond, the American white supremacists who call themselves the Union have revamped themselves into a wealthy criminal club that holds meetings in swank, dimly lit underground boardrooms presided over by the mysterious Le Gerant, a blind man who forgoes canes because he can psychically sense his surroundings. Aided by sadomasochistic sexpot Margareta Piel, Le Gerant has found a crazed Bond look-alike willing to undergo plastic surgery, wear Brioni suits, and commit un-Bondly crimes, such as killing Dr. Feare moments after she forsakes medical ethics to succumb to the real Bond's “overwhelming masculinity.” Meanwhile, Spanish powerbroker (and Union member) Domingo Espada, who publicly manages bullfighters and privately kidnaps poor girls and turns them into sex slaves, has set up a meeting with the various heads of state to demand the return of Gibraltar to Spain. At the climax of the meeting, pseudo-Bond will kill the British Prime Minister. Of course, the one true Bond can thwart only so much gratuitous overplotting by himself, so he swipes a handgun from the Q Branch armory (almost no gadgetry in this outing, alas), falls in with voluptuous CIA twins Heidi and Hedy Taunt, and, after a inconvenient blackout, awakens in Espada's bullring, where he must first use his wits against a charging bull and then fight pseudo-Bond to the death.
Nifty bullfighting scenes do not redeem an otherwise cliché-cluttered narrative. For die-hard fans only.Pub Date: June 1, 2000
ISBN: 0-399-14614-8
Page Count: 272
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2000
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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