Collins is back, and so is the ever-popular Lucky (Lady Boss, 1990, etc.), both operating here, it would seem, on automatic pilot. Lucky Santangelo is due for some trouble, and not just because she's appearing in yet another sequel. Everything's been calm for too long: She's finally the head of Panther Studios, and with two hit movies on her hands and more to come, she's really turning the place around; moreover, her husband, successful actor Lennie Golden, is a true love match, and her three young children are thriving. Then enter Donna Landesman, nÇe Donatella Bonnatti, one of the last surviving members of the Bonnatti family, the longtime archrivals of the Santangelos, who, as Lucky points out more than once, don't like to be ``fucked with.'' First, Lennie has a so- called accidental death in a fiery car crash. Then, Lucky's niece Brigette Stanislopoulos is taken advantage of by a sleazy New York modeling agent and one of his top models. Meanwhile, notoriously difficult director Alex Woods is making his new movie —Gangsters- -at Panther, as well as making some moves on the recently widowed Lucky. Not to mention that Venus Maria, pop singer and would-be actress/sex symbol (and one of Lucky's best friends) is wooing Alex to gain a key role in his film. And (pause for breath) Lennie's not really dead after all, but may just as well be since he's trapped in a cave somewhere in Italy! When Lucky discovers Donna's true identity, and learns that her own supposedly loyal advisor, Morton Sharkey, has helped the Bonnatti family wreak havoc on the Santangelos, she develops a mean case of tunnel vision, vowing not to rest until justice—of the vigilante sort—is done. Seventy-five percent of the fun here lies in guessing what Hollywood hot shots Collins is really dishing (Madonna, Oliver Stone, etc.). Otherwise, it's rather a by-the-numbers if harmless romp. ($300,000 ad/promo; author tour)
Pub Date: Feb. 1, 1997
ISBN: 0-06-039209-6
Page Count: 544
Publisher: N/A
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 15, 1996
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
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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