DOUBLE MINT – GRETCHEN ARCHER – AVAILABLE JULY 21st!

I have loved everything Gretchen Archer has written, from her first book “Double Whammy,” to this latest, greatest entry into the Davis Way caper novels.

Double mint gretchen archer

Davis is growing into herself. Still madcap, but madcap in a Sherlock Holmesian way. She knows what she’s doing. She knows why she’s doing it. She sees connections between seemingly random events. How they form a pattern. The problem is getting anyone else to see.

She and Bradley make a great team. They have that “thing” which makes husband-wife detective couples so much fun — the ability to communicate so cryptically no one else understands. But they “get” each other … and it may save a life or two.

It serves them well as the complex plot unrolls. Finding themselves living in the Bellissimo Casino itself (it’s temporary, isn’t it?), in the most hideous apartment imaginable. There’s a conference of bankers going on and Davis can’t get in. Not even for a quick security scan.

Why not? What’s really going on?

Bankers who have their own security people? Who look and act like thugs?  What’s going on with that super-secure vault? What does the apartment’s previous occupant and (shudder) designer, have to do with it? Has Fantasy gone nuts? Where is No Hair when you need him?

Mysteries within mysteries call for Davis’s clever mind and extraordinary ability to see what no one else can see. Will anyone else “get it” in time?

Another taut mystery and hilarious romp through the world of casino gambling, mysterious bankers, and sealed vaults. Not to mention gigantic heaps of money. Or something like it.

RESERVE A COPY NOW. AVAILABLE IN KINDLE AND PAPERBACK.

Prepare yourself for a great mystery. An intelligently written, perfectly plotted, marvelously witty, clever detective tale you’ll love from start to finish. If you are anything like me, you’ll wish it would never end.

OH! WHAT A LOVELY WAR

Directed by Richard Attenborough

We watch it every year on Memorial Day, the best movie ever made about ‘the war to end war.’ It was just as good this year — in the same funny, awful way — as it was every other year.

OH WHAT A LOVELY WAR

I first saw “Oh! What a Lovely War” when it was released in 1969 and never forgot it. Based on the long-running British stage production, it’s World War I — in song, dance, and irony. The catchy score sticks in your brain. The songs are those sung by the troops, and the cast includes everyone who was anyone in British stage or screen. The credits are a who’s-who of English actors.

World War I is hard to understand, even when you study it. No matter how many books I read, I’m not sure I do. Its causes are rooted in old world grudges that make no sense to Americans. So many ancient hatreds — thousands of years of scores to be settled.

My mother summed it: “Everyone was armed to the teeth. They wanted war. They just needed an excuse.”

Hers may be as good an answer as any. When the war began, it was the old world, ruled by crowned heads of ancient dynasties. When it finally ground to a halt in 1918, the world was remade — beyond recognition. The monarchies were gone. A generation of men were dead, the death toll beyond belief. The callous indifference to loss of life by those in command remains incomprehensible.

More than 9 million men were killed in battle. This does not include collateral damage to non-combatants and death by disease and starvation. It remains one of the deadliest conflicts in human history, paving the way for major political upheaval and revolution in many nations.

You can’t make this stuff up. And why would you want to?

Says the movie at the beginning: “The principal statements made by the historical characters in this film are based on documentary evidence, and the words of the songs are those sung by the troops during the First World War.”

The first World War could well be categorized as an organized international effort to murder a generation and they did a damned good job of it. The absurd statements and dialogue of the historical characters, all safely lodged a safe distance from actual fighting, sound ludicrous.

Did General Haig, looking at the staggering loss of life on both sides, really say: “in the end, the Germans will have 5,000 men and we will have 10,000, so we will have won.”? Apparently he said it. And meant it.

The arrival of the Americans, their takeover of the endless war and bringing it to a conclusion while there was still something left to preserve, is a great moment. I wonder how long it would have gone on without American involvement? Would they still be fighting it today? Would Europe even exist or would it be a wasteland?

The war is told with music and dancing. Songs are mixed with pithy comments by generals, kings, Kaisers and occasionally, soldiers. It’s a long movie — 144 minutes — and I can promise you that you will have a far better and more visceral understanding of this war and the meaning of those little red poppies the Veterans organizations give out (do they still do that?) to commemorate the war to end all wars. Until the next war. And the one after that.

The music is ghastly, funny and catchy. The movie is out of print. It was only in print for a couple of months. I had been looking for it for a long time and was thrilled to snag a copy. A few copies are still available through Amazon. If you are a history buff and also love great movies, grab one before they disappear. Over Memorial Day weekend, one of the movie channels usually plays it. I didn’t see it listed this year, but we own a copy, so I didn’t look very hard.

Great directing, biting sarcastic humor, terrific music and surprisingly informative, this motion picture is in a category all by itself. It was unavailable for more than 20 years. You will not be disappointed and you will never forget it. In the 45 years since I first saw it, I never forgot it.

BUCHANAN RIDES ALONE – GARRY ARMSTRONG

I was watching Randy Scott in Buchanan Rides Alone (1958) last night as my “fall asleep movie” in bed. Headset on, so I could hear everything. I’ve seen this film countless times before. But last night, it finally dawned on me — the movie is awful.

"Buchanan Rides Alone FilmPoster" by Source. Licensed under Fair use via Wikipedia.

“Buchanan Rides Alone” – Film poster licensed under Fair Use via Wikipedia.

I know this is heresy. This is a 1950’s Randolph Scott western. It’s directed by the legendary Budd Boeticher. Here’s the rub. The bad guys are just plain stupid. Not scary. Stoopid! Moreover, Randy’s character is aimless and a little dim-witted.

In a pivotal scene, Randy, L.Q. Jones, and another guy, leave a trio of bad guys loosely tied in a shack after a mediocre fight. Next, Randy and the boys leave the bad guys’ guns in the shack — with the bad guys. And, to complete the picture of truly dumb, they leave the bad guys’ horses conveniently tied up, just outside.

Randy and his pals trot slowly away. Very slowly.

What a surprise! A mere five minutes later, the bad guys catch Randy and his pals.

Randy wears an idiotic smile throughout the film. Now I know why Buchanan rides alone.

PENTAX Q7 – BIG BANG IN AN ITTY BITTY PACKAGE

The little Pentax Q7 puts the fun back into photography. I’ve been an enthusiastic amateur photographer for 45 years, but this camera is unlike anything I’ve ever owned or used. And it is way better than I expected and different, with unique optical qualities.

That a sensor so small produces sharp pictures with excellent color is remarkable.

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The resolution is startling. Although you can’t make poster-size prints from these files, 8X10, and 11X14 prints are not the impossible dream. The focus is fast, and the gyroscope is a blessing for those of us who have trouble getting the picture straight (I drop my right hand). I can’t give you technical explanations of how it works, but the information is available elsewhere online. I can assure you the pictures are crisp, clear, and the color is true.

Battery life is pretty good. They are small batteries, so you’ll get maximum a  hundred and fifty to two hundred shots on a charged battery. I suggest you buy and carry extra batteries when you use the camera. Of course, I think you should do that for all cameras. Amazon sells good-quality, modestly priced, after-market batteries by the bunch. They recharge in a couple of hours. Pentax includes a separate charger with the camera.

The color rendering on the Q7 is almost as good as I get from my Olympus. That is very good indeed. It is true though a bit less rich. It’s easy to adjust in post-processing for more saturation, or change the setting from natural to enhanced. There are plenty of settings from which to choose.

The Q7 is fast, light, and ultra-compact, so it should surprise no one that it lacks a built-in viewfinder. If you demand a viewfinder, this won’t be your favorite camera. Pentax sells an accessory viewfinder, but I have not tried it. I don’t use a viewfinder. Between my eyesight and eyeglasses, viewfinders don’t work for me.

A NOTE ON DOCUMENTATION

The controls are simple and would be even simpler if it included a real manual. The manual it comes with is not “authored.” Likely it was generated by software and includes information without context. It doesn’t even tell you where to find specific controls or function.

Camera manufacturers have unilaterally decided we don’t need manuals. They are wrong. We all need manuals. This issue is not exclusive to a particular camera. It is a malaise affecting the entire electronics industry. Bring back manuals!

OPTICS

The zoom is theoretically “equivalent” to about 90-280mm in 35mm terms, but it isn’t really. That merely describes its field of vision but takes no account of the optical qualities of the lens. The equivalence is inaccurate.

You can’t realistically expect optics to translate by a simple multiplication process. We translate them in a general kind of way for reference purposes, but the field of vision is not the same as the optical quality of a lens. The Q7’s 8.5mm prime lens roughly translates to 50mm (in 35mm terms) if you only consider field-of-view. Depth-of-field, hardness, softness, how it flattens or widens an image are all optical qualities. They don’t translate.

For example, the 8.5mm shoots wide-angle and focuses at about 8 inches. The Q7, however, lets you control bokeh — at least to some degree — and you can get some amazing effects. I’m still learning how to use some of them. I wish it came with a decent manual!

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I use the 8.5mm prime lens for landscapes and close-up work. At f1.9, it handles both tasks well. It’s my default lens, and I bought it separately from the kit that came from Adorama.com with two f2.8 zoom lenses.

I carry the camera and three lenses in an insert that fits into my tote. Sometimes, I bring only the camera with a lens attached. 

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It is the smallest interchangeable lens camera on the market. I originally heard about it from a blogger I’ve been following since before I was a blogger. He has written a lot about this and other cameras. Great photographer, too.

Check out his website at ATMTX PHOTO BLOG Urban Landscape + Lifestyle Photography.

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Taken from inside a moving car through the windshield glass (which was none too clean).

I shot all the pictures in this post with the Q7 except the photos of the Q7 itself. For that, I used an Olympus PEN PL-5 with an f1.8, 45mm lens.

I don’t do HDR and used minimal processing. Did I mention that the Q7 shoots RAW and JPEG? At the same time, if you like.

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It won’t replace a full-size camera. Its smallness creates limitations. But the range of its capabilities is substantial.

The Pentax Q7 is an ideal travel camera.  It is compact and light, but not a toy. It’s a real camera. You can get a sense of its size from the gallery pictures.

Pentax released a new version recently. I’m okay with the Q7, so I haven’t checked it out yet. I don’t know what new features have been added. I hope Pentax will release new lenses. Otherwise, I am very pleased with my current gear.

LIFE IN THE REAL DESERT: WESTERNS AND OLD MOVIES

Marilyn Armstrong:

The best affectionate analysis of this genre I have ever read … and I’ve read a lot of them. Beautifully written. If you love Westerns, you’ll love this. Promise!!

Originally posted on Mikes Film Talk:

Town sign outside of Burger King
My life in the real desert thus far has consisted of much more than personal injury and the shock of having no television. It includes the reading of old western favorites and movies that remain in the collection. Split into blu-ray, NTSC, Region 0 and Pal, the DVDs are spread out between RV and 5th wheel. In terms of stimulation, the tales by Louis L’Amour are hard to beat. Each story a sort of male romance novel built around rugged and hard men who must either fight, solve a mystery or puzzle, or defeat a villain who has designs on the girl of the protagonist’s dreams.

It took me awhile to figure out that these adventure stories of the old west were, in fact, the male answer to Harlequin Romance. These gunfighters, gamblers, cowboys, miners, lawmen, soldiers and so on are all just men searching for something. In the books…

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DECEMBER BOYS (2007) DANIEL RADCLIFFE – RICH PASCHALL

DECEMBER BOYS (2007)

Movie Review, Rich Paschall, Sunday Night Blog

You probably missed it in the theater.  It stars Daniel Radcliffe at the height of the Harry Potter phenomenon.  The Australian made film also found a big name distributor for the USA and Canada, Warner Brothers.  Yes, the same mega movie studio that distributed Harry Potter.  If you were the producer of this little Australian project, you might expect you would hit the jackpot with Radcliffe’s star power, plus one of the biggest movie distributors in the world.  You’d be wrong.

Distributor: Warner Independent

Distributor: Warner Independent

Filmed down under in 2006, December Boys is based on the novel of the same name.  The setting was moved up from the 1930s to the 1960s and is told as a flashback, as it was in the book.  This allows the ending to be brought up to modern times. The boys are orphans at a Catholic institution.  Four boys (five in the novel) share December birthdays. Each is given a gift of a Christmas holiday at a large beachfront home.

Radcliffe, a teenager at the time, is the oldest of the boys, known as Maps.  The other three, Spit, Spark (or Sparks, the film is unclear) and Misty are younger boys of about the same age.  Misty is the narrator.

For Radcliffe, this is a coming of age story.  He meets a girl who is a bit of a wild child and through the course of the movie you will see Radcliffe smoke, drink and, well, if you don’t know what they were doing in that cave, you were never a teenager.  Later, Maps dismisses an inquiry by one of the younger boys about that mark on his neck.

The home of the older couple who hosts the boys’ holiday introduces the element of health problems of one of the adults.  It’s a bit of a sad sidetrack to a storyline filled with side tracks.  There is also an old fisherman at the sea trying to catch some elusive large fish.  Naturally one of the boys get caught in that story line.

Then there’s the young couple who fail to conceive a child.  When the young husband tells the priest from the orphanage they are having trouble getting pregnant, you know what the priest will suggest.  Misty overhears and determines to be the one adopted. Eventually he tells the priest he was eavesdropping. The other boys force him to spill the story.  The little ones try to be model citizens, while Maps knows an older boy will never be adopted.

There are plenty of hi-jinks for the boys.  The young man pushing the adoption with his wife owns a motorcycle and gives the younger boys rides along the beach.  Misty goes in the water and nearly drowns and our hero comes to the rescue. Do I have to tell you who?  There is disappointment and heartbreak in store.  Throughout, the single thing the boys share is the only family they know are each other.

In addition to various goofs, some of the symbolism is confusing. And unnecessary.  A dark stallion periodically appears, symbolizing something, but I’m not sure what. Misty has “visions” of the future — nuns and the Virgin Mary.  It works having Misty picture the future through an empty frame; the rest doesn’t work.  Boomers may find the out-of-time 1970s songs jarring.

Radcliffe wasn’t paid a big salary to make the movie.  He probably wanted a chance to be someone other than Harry Potter.  The character of Lucy, with whom Maps has a relationship, was not in the novel.  Perhaps this intrigued Radcliffe. Perhaps it worried Warner Brothers.

When the film opened in September of 2007, it had staggered release dates for Sydney, Melbourne, and London, most likely so Radcliffe could attend. When Warner Brother opened it as a “limited release” in the US, it was on four screens the first week, eight the next, and 13 next. After which it more or less disappeared. Not exactly a grand opening for a boy known round the world. Of course, the boy was known for a specific role and Warner Brothers wanted to keep it that way, at least to the degree they could control it.

It didn’t make much money. Of course. In the U.S., it grossed about $100,000 during its three-week release in September 2007. The film cost an estimated $4 million and grossed around a million dollars (U.S. and Australia) during its theatrical release. It’s currently available as a digital download from Amazon, used on DVD.

December Boys got mixed reviews. The confusion of the story lines mixed together was criticized.  Immortal film critic Roger Ebert said, “There seem to be two movies going on here at the same time, and “December Boys” would have been better off going all the way with one of them.”  One thing critics agreed on: young Daniel could play someone other than Harry Potter.

The “coming of age” story with Lucy and Maps was created for the big screen. Perhaps therein lay some of the problem of plot development.  It might have been better to skip the extra plot and have Radcliffe play a boy who everyone looked up to, who came in to save the day when there was trouble for any of the other characters.

Oh wait, he was already doing that. Rather successfully too.

Crime and Redemption – From a Dead Sleep, John A. Daly

FROM A DEAD SLEEP
John A. Daley

Publisher: BQB Publishing — June 25, 2013
Category: Thriller/Suspense

Dead-Sleep-Front-Cover

Growing up in the secluded mountain town of Winston, Colorado – the middle of nowhere – carries its own burdens. Especially when you aren’t the kind of guy who gets much respect from anyone. Not that Sean Coleman has earned much respect. He’s always been a bully, even when he was in high school. His manners and personal habits are distasteful and he’s a drunk, the kind of drunk who gets mean then falls face down and lays there until morning.

The only thing that’s kept him going is his work as a security guard at his uncle’s company. It’s not much of a job, but Sean takes the responsibility seriously. Not far below his bad mannered alcoholic exterior, he wants to be a hero. He’s addicted to crime shows and he has an active — many would say overactive — imagination.

Whatever else is wrong with him, he’s no dummy. Sean is a keen observer of his surroundings, a man who notices small things, details others miss or dismiss. It’s gotten him into trouble in the past and it’s about to do it again. Early in the morning following a particularly unfortunate night of bad choices and heavy drinking, Sean is the sole witness to a bizarre suicide. The man is a mystery, a total  stranger — rare in a tiny rural town. Slowed by difficult terrain and his own sluggish, hung-over reflexes, his attempt to prevent the death are unsuccessful. Equally unsuccessful but much more embarrassing are his attempts to convince local law enforcement something really happened.

There’s not a shred of solid evidence. The body is gone, flushed away by the powerful current of the river into which it fell. Most people think Sean’s account is his imagination or an outright lie. Yet a there are some folks who know him well and harbor a nagging suspicion there might be something to his strange story.

Lacking a body or hard evidence, Sean finds he has become — again — the town’s biggest joke. But this time, he knows what he saw. He can’t let it go. When he finds a few scraps of evidence, he determines to follow the trail wherever it leads. He’s going to see this through to a conclusion. For good or ill. Because he’s been living a life he no longer wants. He needs a win, something to restore his credibility with the town, his family, and above all, himself.

Sean Coleman needs redemption.

With no money or even a cell phone, a credit card or a plan … armed with a fierce determination to prove himself and his father’s old 45 revolver, Sean embarks on a quest. It takes him cross-country to uncover a network of evil uglier and more dangerous than he imagined possible.

Sean Coleman is complex. An unlikely protagonist, a gray man in a black and white world. The theme reminded me of Clint Eastwood’s “Gran Torino” – the gruff, anti-social protagonist looking for salvation in a most unlikely way.

FROM A DEAD SLEEP is a page turner, an exciting, well-written thriller with a solid back story and more than enough plot twists to keep you guessing. Most interesting is the slow discovery of Sean as his personality is peeled back, layer by layer. Sean Coleman is not easy to like, yet you quickly find yourself paying him grudging respect, even admiration.

Enigmas are nested inside mysteries. It’s a lot of book and nothing is as it seems. The journey is well worth taking.

About the Author:

“Some writers are thoughtful. Some have style. John Daly has both. When I read his work, it’s time well spent.” – Bernard Goldberg, New York Times bestselling author of ‘Bias‘.

A lifelong Coloradoan, John Daly graduated from the University of Northern Colorado with a degree in business administration and computer information systems. He spent the next fifteen years developing accounting software and Internet-based work-flow collaboration solutions.Daly-John

With a thirst for creative expression that went beyond the logic and absolutes of computer programming, John developed an interest in writing. His early work included newspaper editorials and film and television reviews for entertainment websites. He later became drawn toward more substantive commentary on world events. He currently writes political, cultural, and media analysis columns for the website of Bernard Goldberg, former CBS News journalist and The New York Times bestselling author.

John felt compelled to take his writing to the next level after watching a television interview with former NFL football player, Tim Green. Inspired by Green’s career transition from a professional athlete to an accomplished author, John found the motivation to begin work on his first novel, FROM A DEAD SLEEP.

FROM A DEAD SLEEP is the story of a profoundly flawed man who witnesses a tragic event that no one else believes, and that man’s quest for the truth and redemption. The mystery novel unfolds in the dense mountain ranges of Colorado where John has spent much time camping, hiking, and enjoying the outdoors.
John lives in Greeley, Colorado, with his wife and two children.

You can visit John at these websites:

 johndalybooks.com or fromadeadsleep.com

John on Facebook: https://www.facebook.com/JohnDalyAuthor

John on Twitter: https://twitter.com/JohnDalyBooks

FILM CRITICS, FLOPS, AND FLYPAPER (2011)

A while ago, Garry and I watched what is I am sure among the lowest grossing movies of all time. I don’t say this lightly. In its theatrical run, it grossed exactly (according to both Wikipedia and IMDB) $1100, which even for us is not a giant sum of money. No, there aren’t any zeroes missing. That’s the real number.

This is not the lowest grossing movie ever. In 2013, Storage 24,  the British sci-fi/horror flick grossed just $72 (in the U.S.) after it was released for one day, on one screen. In 2012,  Playback cost $7.5 million to film but only grossed $264 — the lowest-grossing film of that year. Still, the all time loser is definitely 2006’s Zyzzx Road, starring Katherine Heigl which grossed $30. You can look this stuff up. You might be surprised at how many films lose money on initial release, though some make it up later when released to cable and DVD. The bigger the initial budget, the larger the potential for disaster, so despite these horrific numbers, many movies actually lost much more money.

Flypaper only cost $5,000,000 to make, so they only lost $4,998,900. For a Hollywood bomb, that’s small potatoes. The movie was universally panned. It opened in one movie house on two screens, then disappeared until it popped up on cable. Garry didn’t recognize it, so he recorded it on the bedroom DVR. A couple of nights ago, while I was reading in bed (my favorite indulgence), I noticed the bed was shaking. He was laughing. Really laughing. Garry doesn’t normally lay in bed laughing. He told me that he was going to save this one because he thought I’d like it. If Garry thinks its funny, it’s funny. He has a discerning sense of humor.

Flypaper  is a good little comedy. A spoof. A farce. A parody of bank heist movies plus a bit of slapstick, technobabble, and some fine explosions. The dialogue is witty, which is more than I can say for a lot of movies the critics thought were great.

I do not understand critics and often wonder if we saw the same movie they reviewed. Sometimes, I wonder if they actually saw the movie at all or they read someone else’s review and are just repeating what they heard.

Flypaper features Ashley Judd and Patrick Dempsey. It’s directed by Rob Minkoff. The writers were the same guys who created the characters from The Hangover. Rob Minkoff is known for co-directing The Lion King. So they’ve got their bona fides in order.

My first thought, as the credits were rolling, was that it reminded me of the credits for the Pink Panther. And, it turns out, the movie reminded me of the Pink Panther too, minus Inspector Clouseau. Okay, it isn’t Blake Edwards, but it’s the same sort of “What else could go wrong” humor. It’s not a great movie, but it is a good one and fun to watch. Certainly worthy of at least a straight to DVD presentation. I would normally not write about it, but it’s gotten a bum rap: horrible reviews and no support from its studio. Showing it for a week in one theater on two screens, with no advertising or PR is not exactly a grand opening. It deserves better.

The reviews in IMDB and Wikipedia demonstrate whoever wrote them never saw the movie. The descriptions are wildly inaccurate. I guess anonymity is not always bad. I wouldn’t sign my name to that drivel either. Then again, I wouldn’t review a movie I’d never watched, or a book I haven’t read. Call me old-fashioned.

Critics heap praise on movies that are boring or worse. They pan movies that are creative, unique, and interesting. They apparently take special pleasure in negative reviews, the more vicious the better. Meanwhile, they glorify obscure movies in which no one will be interested.

Back in 1999, Garry and I were visiting friends in Michigan. Our group consisted of a lawyer, an engineer, a TV journalist, and a writer. We decided to rent the latest movie on which critics were heaping praise. It was the must-see  movie of the year: American Beauty.

Touted as a masterpiece, there were barely enough adjectives in the English language to say how wonderful it was. It was beloved of critics and grossed more than $350 million, won Best Picture, Best Director, Best Actor (for Spacey), Best Original Screenplay, and Best Cinematography.

I couldn’t figure out what the movie was about and I doubt the critics knew, either. It was too “au courant” for anyone to admit they didn’t get it. After the fad ended, the movie disappeared. No one shows it on cable, no one rents it. It’s out of print. It was crap. Like in the story of the Emperor’s new clothing, no one wanted to be the first to point out the king was bare-ass naked.

About half an hour into the movie, our little group looked at each other and conferred. Was anyone enjoying it? No? We popped the movie out of the machine and moved on. Pop corn goes with conversation, too.

American Beauty reminds me of the Woody Allen movie Hollywood Ending. In it, a formerly prestigious director is broke and desperate for a movie project. He gets an offer to direct a big movie in New York. Because the offer comes from his former wife (Téa Leoni) and her current boyfriend (Treat Williams), he is reluctant to take the assignment, even though he needs the money and something to get his career on track. He finally agrees to do it and is immediately struck blind by some kind of psychosomatic ailment probably induced by anxiety. The production hasn’t even started yet, but he decides to fake it.  It costs $60 million and flops. But, there is a “Hollywood ending.” The movie becomes a huge hit in France. He happily proclaims, “Thank God the French exist.” He knows the movie is awful, the worst thing he’s ever done. He had no idea what he was doing, but the French read all kinds of deep meaning into it.

There will always be people to love things that don’t make sense because they figure it must be full of secret meaning. I went to school with these people. Didn’t we all?

Flypaper is funny. We enjoyed it.  We laughed. A comedy should make you laugh. This does. It’s every bank heist movie you’ve seen with Murphy’s Law running amok. Everything that can go wrong does. Parts of the film remind me of Wily Coyote cartoons. You know something’s going to happen, but it doesn’t spoil the joke.The pacing is appropriately frantic. The cast manages to keep straight faces. The dialogue is funny and well-delivered. You have to listen because good lines are easy to miss if you aren’t paying attention.

Our favorite bit of dialogue is between two of the older bank robbers complaining that they miss the good old days when all you needed was a gun and a brown paper bag. This in the midst of what could only be called the most catastrophically unsuccessful bank heist ever attempted.

The ending is predictable … or maybe not. It depends how your mind works. If you bump into it on cable or somewhere, give it a look. It’s pretty good. Really. I’m not kidding. I did watch it, including the credits.

Available from Amazon on DVD, Blu-ray, and download, most people who actually watched it liked it. I’m still trying to figure out why the critics were so negative. The more I write know about movies, the less I understand critics.