Saturday, January 14, 2017



I thoroughly enjoyed Hidden Figures. It's a hard film not to like. The three leads are perfectly cast and Kevin Costner holds the center together. Jim Parsons is a bit jarring only because he seems to be channeling Sheldon's evil twin.
There are faults. The racism angle is definitely pertinent to the story, but is heavy-handed at times. You also begin to ask yourself how many times Taraji P. Henson is going to be forced to run the half mile to the 'colored bathroom' and bac...k while trailing classified reports like so much toilet paper stuck to her click-clacking sensible heels.
However, like the film Enigma about Alan Turing's math genius leading to the cracking of the WWII German coding machine and the invention of the first computer, Hidden Figures is riveting when it is focused on the math geniuses behind the race to space. Even though we know the outcome (except for perhaps some gen-X and millennials for whom the space race is an ancient and murky legend), Hidden Figures manages to sustain its story's tension to the end.
This is not an Oscar contender filled with angst, drama, and scenery chewing. Instead, Hidden Figures is an entertaining, refreshing PG evening (not an f-bomb or hide the kids' eyes moment to be found) with many sparks for post viewing conversation...

Thursday, January 12, 2017



I stopped by the wonderful Book Alley in Pasadena again today on my way home from Riverside. Rebekah, their delightful mass market paperback specialist, does yeoman's work keeping her large inventory of G to VG condition books well organized, and even knows a lot about what is in the store's warehouse. I'd left her a want list on Monday and this is the haul she had waiting for me today. Only $15...



Small lunchtime haul from a bookstore I'd never before visited in old town Riverside...I came across yet another copy of Buchanan's Gun (Brian Garfield writing as Jonas Ward) and picked it up for another friend...



Hokey smokes! I stopped at Book Alley in Pasadena today. I've never been to the store before, but decided to stop in on my way down to Riverside to teach a three-day interrogation class. The stock of mass-market paperbacks at Book Alley is extensive, in great condition, and at good prices. This collection cost me $13. I picked up the copy of Buchanan's Gun, which is by Brian Garfield for a friend trying to complete his Garfield collection...


My long time friend Steve Mertz noted elsewhere today, "There is a day in the life of every writer that no writer ever forgets: The arrival of their first novel. And right up there with that one-of-a-kind event/emotion is the joy of sharing it when a friend gets to experience that thrill..."
He is absolutely right, so both Steve and I are getting the word out about our friend Ben Boulden's first novel, which is soon to be published by James Reasoner's Rough Edges Press imprint, and is currently available from Amazon for pre-order.
As steve says, "You're going to be hearing a lot of good things about Ben in the future, and here's your chance to join me in welcoming a new writer of promise. You won't be disappointed..."

Sunday, January 8, 2017


Lion was made worthwhile for me having seen the recent 60 Minutes segment featuring the young man on whom the film is based, which highlighted the evidence supporting his true story.
The first half of the film is made riveting by the performance of 8 year old Sunny Pawar (best screen smile ever) as five year old Saroo, who gets lost on a train which takes him thousands of miles across India, away from home and family. The challenges of survival faced by Saroo as an abandoned ...child in the seething Calcutta cauldron of inhumanity are terrifying, but it is the vivid dangers of adult human predators provide the true horrors. These scenes are the heart of the film and truly excellent storytelling, cinematography, and direction.
By necessity, the film now takes a giant turn to a less interesting story. After Saroo eventually lands in the living hell of an Indian orphanage, he is chosen to be adopted (no explanation how, although it did actually happen) by an affluent, loving Australian couple who live in Tasmania. These scenes of the young Saroo's immersion into a world of wonder and paradise are also well handled. So too are the scenes when a year later, the family adopts a second child from India, unaware of his debilitating emotional challenges.
The film then makes a jarring jump of twenty years and we meet the now adult, apparently well adjusted and intelligent, Saroo about to leave his adopted family to embark on a hotel management course in Melbourne. The always watchable Dev Patel tries his best in the unforgiving, underwritten role of the adult Saroo. The problem comes in that none of this is anywhere near as interesting as what has come before.
As Saroo goes down the rabbit hole of desperation and obsession, using the (at that time) revolutionary technology of Google Earth and the few memories of his five year old self to find his lost family and first home, he alienates everyone (including the audience) who has ever helped, supported, or cared about him. While the drive to find his lost family is certainly understandable, the film drags through this uninteresting scenario of fruitless searching and self destruction when everyone knows where the story is going.
If these scenes had been cut in half, and more time spent with the story from the skipped twenty years, the film would have been a more cohesive and involving tale. The inevitable happy ending also loses some of its impact because of the stupor the audience has been dragged into by the stodgy middle of the film. The ending still saves the film, especially when footage of the real reunion appear, but the whole in this case is less than the sum of its admirable parts...

Wednesday, January 4, 2017


Just re-watched (for the umpteenth time) the much maligned (by know nothing critics) John Carter movie and was once gain convinced of the film's greatness. It is a great translation of ERB's A PrincessOf Mars, and deserves a sequel that doesn't involve a scourge of meddling Disney executives and marketing gurus not worthy of the name...I get hooked in every time I channel surf and land on a cable network where it is showing...


With the exception of Casey Affleck's exceptional portrayal of a broken man attempting to do the right thing while no longer having the emotional capacity to do so, Manchester By The Sea did not live up to the hype surrounding it in my opinion.
Yes, Affleck's performance is great, but by its very nature it is a one note performanceand that note is a constant funeral dirge. If you feel like killing yourself after seeing this film (or Arrival, for that matter), immediately enter the adjacent theater and watch Sing repeatedly to bring the smile back to your face...


For over forty years, I’ve waited eagerly for each new Dick Francis novel to appear and immediately top my tottering to be read pile. Not only do I buy each new Francis novel on publication day, but I always pay a premium for the British first editions because of their far superior cover art, higher quality paper, and tighter binding. I still buy the America first editions, but do so while shaking my head over their generic look and feel.
Recently, I was speaking with the mystery’s most knowledgeable collector and genre maven—a man whose opinion I highly respect. He told me Dick Francis appears to have fallen out of favor with collectors. Apparently, my Dick Francis first editions—signed or unsigned—are currently not worth diddly. While this is unfortunate, it is a moot point as I have no plans to dispose of my extensive Francis collection.
Extensive is the operative word in the last sentence. Aside from British and American first editions, I have several different audio editions of each book, and copies of the books and magazines containing the original appearances of the handful of Dick Francis short stories. Then there are the VHS and DVD collections of all of the Francis television adaptations, plus the only feature film based on a Francis novel, Dead Cert
My collection further contains press release information for both the books and the TV adaptations, posters and lobby cards for the Dead Cert movie, a bootleg VHS tape of an unauthorized Russian television adaptation of Dead Cert, and several three-ring binders filled with other Francis ephemera.
I was fortunate to meet Francis and his wife Mary on several occasions and found them to be charming, good-natured, and unassuming. The fact Mary did quite a bit of work on the books while Dick got the credit on the covers, was an open secret to those familiar with the situation. The Francis sons, Merrick and Felix, also got into the act on occasion. "I designed the bomb that blew up the plane in Rat Race when I was a 17 year old physics student,” Felix explains. “I wrote the computer program in Twice Shy, which I thought was really cutting edge. but is now so out of date." Felix’s experiences as an international marksman would come into play in both Shattered (2000) and Under Orders (2006). Felix eventually left the academic world—with which he still maintains strong ties—to handle his father’s affairs and manage the Dick Francis brand. 
When Mary Francis passed away, Francis’ English and American publishers (Michael Joseph and Putnam respectively) began to pave the way for a formal succession of the novels’ authorship from Dick Francis to his son Felix. The tradition of a Francis for Christmas, supposedly an edict from Queen Elizabeth herself, had to continue—As, I’m sure, did the publishers’ revenues. 
After thirty-nine novels, two non-fiction tomes, and a collection of short stories, the next four novels were bylined Dick Francis in large type at the top of the covers with And  Felix Francis in smaller type at the bottom. Once Francis himself passed away, there was still a Francis for Christmas, only now Felix was credited as the sole author of the next six successful Dick Francis branded tales of horseracing mayhem and mystery—with no finish line yet in sight.
Francis himself rarely used a main character for more than one book. He believed a new book needed a new main character as it made filling the pages easier if there was a different hero to describe and develop. He also felt using a new hero in each story made it easy for the books to be read in no specific order. 
Francis followed this rule literally in name only and with two exceptions. Anyone who has ever read a Francis book would recognize the same hero templet in each succeeding volume. The character may have a different occupation—from race pilot to horse transport driver to official British Horse Racing Authority agent—a different girlfriend, and a different physical appearance, but the first person voice of the character never changed, nor did the likeable persona, dogged determination, and quick thinking characteristics, which were the touchstones of every Francis hero. This is not a criticism. In many ways, this approach is brilliant because it creates the perfect mix of the comfortable and expected with the allure of new and vibrant backstories and professions, all played against the ever present world of horses and racing.
The two exceptions to Francis’ general rule were Sid Halley and Kit Fielding. Appearing first in Break In (1985), Fielding saw a return to action the following year in Bolt (1986) as Francis was concurrently writing the official biography of Lester Piggott and did not have the time to research a new lead character. Sid Halley, however, was a different story.
In 1979, the first Sid Halley novel was adapted for the debut of six episodes comprising the television series, The Racing Game. While the other five episodes were original stories created by other writers, Sid Halley remained as the series protagonist. Francis was extremely impressed by the performance of actor Mike Gwilym, who portrayed Sid Halley in the series. Francis felt Gwilym so completely embodied the character, he was inspired to write the second Halley novel, Whip Hand (1979), dedicating it to Gwilym. The novel was so successful, Halley became a fan favorite and Francis brought the character back again in Come to Grief (1995) and Under Orders (2006).  
NOTE: In 1989 there were also three made for TV films adapting Francis’ novels Blood Sport (1967), In the Frame (1976), and Twice Shy (1981). The films replaced the different heroes from all three books with Ian McShane starring as David Cleveland, a character used only once by Francis, in the novel Slayride (1973).
The popularity of Sid Halley was augmented by his being the perfect Francis style hero—intelligent, tormented, and driven. A top jockey, Halley’s hand was crushed in a racing fall when a fall a horse stepped directly on his left palm. As the hand remained mostly useless even after a series of operations, the injury effectively ended his racing career. 
Unable to ride, Halley reluctantly takes a job as a private investigator for Hunt Radnor Associates, a large security firm with strong ties to the horseracing industry. Filled with self-pity over the hand injury, which cost him his racing career and his wife, he sleepwalks through life until a series of unexplained racetrack accidents peak his interest. In the course of the case, he discovers has an affinity for being a detective. However, this personal breakthrough comes at a high cost when the villain of the piece damages the injured hand even further, resulting in its amputation.
Odds Against earned Francis his first nomination for an MWA Edgar Award for Best Novel. The return of Sid Halley in Whip Hand won both the MWA Edgar and the CWA Gold Dagger for Best Novel, a double down share only with John le CarrĂ©’s The Spy Who Came In From The Cold. The third Halley novel, Come to Grief, also won an Edgar, making Halley the only detective-hero in fiction to be headline two Best Novel Edgars.
In 2013, in his third solo outing, Felix Francis returned to his father’s most popular character in Dick Francis’ Refusal. Now 47 years old, Halley has a six-year-old daughter and has given up detective work. However, to protect his family from a series of violent threats, he must reignite his long dormant detective skills. 
In interviews, Felix Francis has stated, I didn’t actually decide to follow in my father’s footsteps. It was all a bit of an accident. My father’s literary agent approached me and said that, after five years of no new Dick Francis novel [2001—2006], people were forgetting and my father’s backlist would soon go out of print. What was needed was a new novel to stimulate interest. By this time my father was 85 and my mother, who had worked closely with my father on the novels, had died.
I told the agent that there was no chance of a new novel. He then asked if I, as my father’s manager, would give my permission for him to approach an established and well known crime writer to write a new ‘Dick Francis novel‘. I replied that, before he asked anyone else, I would like to have a go. “Write two chapters,” the agent said. “And then we’ll see.” I suspect he thought that he would then get my permission to ask the established writer. I wrote the two chapters and, as they say, the rest is history. The agent told me to get on and finish the book, and I’ve been a full-time writer ever since...
After four novels under his father’s tutelage—Dead Heat (2007), Silks (2008), Even Money (2009), and Crossfire (2010)—Dick Francis’ Gamble, published in September 2011, retained the Dick Francis brand, but was Felix Francis’ first solo outing.
The idea of a recurring hero apparently appealed to Felix Francis. Following the return of Sid Halley in Dick Francis’ Refusal, Felix Francis’ next novel, Dick Francis’ Damage (2014), introduced British Horseracing Authority agent Jefferson Jeff Hinkley. 
A highly trained investigator, Hinkley was as an officer in the British Army Intelligence Corps. He served several tours of duty in Afghanistan, and is not fazed by situations of intense danger where he has to rely solely on his wits to extricate himself from trouble. He is also a master of disguise. Like all Francis heroes, he is organized, loyal, and courageous—stubbornly refusing to be put off the scent of his quarry despite threats, beatings, stabbings, and bombings. 
My editor and publisher were keen to have Jeff back and I believed it was the time, maybe, to write a series...I have certainly found the experience interesting, if not always easy. The primary difficulty being the need to create a story that can be read in isolation from the others in the series without the need for prior knowledge from previously written works...To be a success, it is essential people care about the protagonist. They don’t have to necessarily like him, but they do have to care what happens to him and also how the story unfolds around him...
As a result, Felix Francis immediately brought Hinkley back in Front Runner: A Dick Francis Novel (2015), unearthing some unresolved issues from Dick Francis’ Damage, to challenge his returning hero. Hinkley’s adventures also continue in Felix Francis’ latest novel, Triple Crown: A Dick Francis Novel (2016)—which takes Hinkley to America and the perils of the Kentucky Derby and the other glamorous races comprising American racing’s biggest prize. 
Like Sid Halley before him, Jeff Hinkley is extremely likeable. Felix Francis has captured his father’s skill at using the first person narrative of his tales to make the reader feel like a close friend along for the investigative ride. For me, Felix Francis has refreshed the brand. As a self-admitted Dick Francis fanatic, I’m delighted to see the stories continuing in a style and quality of which both Dick and Mary Francis would be proud. 
Undercover investigator Jeff Hinkley is assigned by the British Horseracing Authority to look into the activities of a suspicious racehorse trainer, but as he’s tailing his quarry through the Cheltenham Racing Festival, the last thing he expects to witness is a gruesome murder. Could it have something to do with the reason the trainer was banned in the first place—the administration of illegal drugs to his horses?
Then many more horses test positive for prohibited stimulants, and someone starts making demands, threatening to completely destroy the integrity of the racing industry. In order to limit the damage to the sport, it’s critical that Jeff find the perpetrator...but he’ll soon learn he’s up against someone who will stop at nothing to prevail.
In his role as an undercover investigator for the British Horseracing Authority, Jeff Hinkley is approached by a multi-time champion jockey to discuss the delicate matter of losing races on purpose. Little does he know that the call will set off a lethal chain of events, including the apparent suicide of the jockey and an attempt on Hinkley’s own life. Never one to leave suspicious events alone, Hinkley begins investigating the jockey and the races he may have thrown. But there are others out there who intend to prevent his inquiry from probing further…at any cost.
Jefferson Hinkley is back in the newest thriller in the Dick Francis tradition, this time on a special mission to the United States to investigate a conspiracy involving the biggest horse races in the country.
Jeff Hinkley, investigator for the British Horseracing Authority, has been seconded to the US Federal Anti-Corruption in Sports Agency (FACSA) where he has been asked to find a mole in their organization—an informant who is passing on confidential information to those under suspicion in American racing.  At the Kentucky Derby, Jeff joins the FACSA team in a raid on a horse trainer’s barn at Churchill Downs, but the bust is a disaster, and someone ends up dead.  Then, on the morning of the Derby itself, three of the most favored horses in the field fall sick. 
These suspicious events can be no coincidence. In search of answers, Jeff goes undercover as a groom on the backstretch at Belmont Park racetrack in New York. But he discovers far more than he was bargaining for: corrupt individuals who will stop at nothing—including murder—to capture the most elusive prize in world sport, the Triple Crown.

Sunday, January 1, 2017


My last movie of 2017, Fences, was a stunning drama of the first order. It is filled with powerhouse performances from all involved, but especially from Denzel Washington and Viola Davis, whose characters are the true focus of the film...Fences is more than a moving, very human story. It also exposes facets of relationships specific to black family dynamics that run deeper than the traditional racial tropes of many lesser films.
Fences doesn't settle for the obvious. It has a far more complex heart beating with the deeper scars of the black experience in America, many of which come from within the culture as opposed to the harsh external cultural pressures. In Fences, the Black experience is shown through the subtle cracks of difference in the many things we all share in common.
I don't want to give the wrong impression. Fences is not a racially charged film. Its focus is character not race, and because of this, it exposes something far deeper. For me, this is what made Fences a sharp, intelligent, thought provoking, ultimately important experience...