Samuel L Jackson was briefly interviewed at the premiere of The Incredibles 2 in London on 8 July and was asked about the new Shaft movie. He stated the movie’s 2019 June release date was to tie in with Father’s Day, given the nature of the relationship between his character and the of Jessie T Usher in the movie. HIs hinting toward a family orientated theme seems at odds with the previous films in the series, but may just be reflective of the nature of the three generations of Shaft in the movie, with Richard Roundtree also present to reprise his original role.
RIDING THE RAP by ELMORE LEONARD (1995, Weidenfeld & Nicolson, 326pp) ***
Blurb: Palm Beach playboy Chip Ganz needs money – fast. He has spiralling debts, and his mother’s gravy-train has just derailed. So he has a plan: he’s going to find somebody rich, and take them hostage. With the help of an ex-con, a psycho gardener and the beautiful psychic Reverend Dawn, he chooses bookmaker Harry Arno as the lucky victim. The trouble is, Harry can scam with the best of them. And that’s not the only problem. US Marshal Raylan Givens is sleeping with Harry’s ex girlfriend, Joyce, and she wants Harry found. And when everyone’s got a gun, someone is going to get hurt …
Elmore Leonard’s second novel to feature Deputy US Marshal Raylan Givens lacks the scope of the first, 1993’s Pronto. It is, however, still an entertaining read filled with Leonard’s trademark characters. The character of bookmaker Harry Arno returns from that book and plays a major part in the story here. The plot again is slight – revolving around a kidnapping scam where the victim is asked to pay for their own release. Raylan is quickly onto the gang and most of the book is spent on detailing how the gang unravel as personal greed and personality clashes take over. Leonard has a fantastic ear for dialogue and his writing style is as efficient as ever. Whilst Riding the Rap won’t sit high in his overall output, it further confirms the potential in his main protagonist, something that Leonard would explore further in his novella, Fire in the Hole and would be taken into the TV series Justified. This novel would be adapted into the third episode of the first season of the series with changes to characters.
Raylan Givens books by Elmore Leonard:
Pronto (1993) ***½
Riding the Rap (1995) ***
Fire in the Hole (novella) (2002) – the basis for Justified.
Raylan (2012) ***½
PRONTO by ELMORE LEONARD (1993; Weidenfeld & Nicolson; 226pp) ***½
Blurb: Harry Arno runs a South Miami Beach gambling operation. To protect his position, he was forced to cut a deal with the local muscle, Jimmy Capotorto (Jumbo Jimmy Cap), an even fifty-fifty split. For years Harry had been padding his own stake by skimming off the top. Now a couple of local detectives – wise to sticky fingers – try to bag Jimmy by putting the squeeze on Harry. U.S. Marshals deliver Harry to court to testify at Jimmy’s trial. Even though he’s a step slower than he used to be, Harry’s no fool – he slips out of the country pronto. With Jimmy Cap’s men following and the Feds close behind, the three sides end up in Italy, watching their own backs while keeping abreast of Harry’s. But it’s not until the chase leads back to Miami that the real winners and losers are revealed …
Being a huge fan of the TV series Justified, which ran from 2010-15 featuring Timothy Olyphant as Deputy US Marshal Raylan Givens, I thought I’d go back to the source of his creation with this 1993 novel by Elmore Leonard. All the facets of Raylan’s character are set out here in this slight tale of a fugitive being hunted down by both the law and the gangsters he has been skimming from. Most of the action takes place in Italy, where Harry Arno has fled with his girlfriend, Joyce. All the characters here are well drawn and typical of Leonard’s crime novels – the sharp-talking small-time crook, the over-confident hit-man, the crime boss past his sell-buy date, the girls that skirt and scheme around these characters getting what they can for themselves. Whilst there in no real deep message or social commentary in this tale, what it lacks in depth it makes up for with its witty dialogue and fast-moving plot. Raylan, here, is slightly older than he is portrayed in Justified and has two kids from his failed marriage to Winona. Otherwise his character is in sync with that essayed so well by Olyphant. In fact, the last scene of the book is the first scene of the TV series creating a nice link to the show. Pronto was also adapted for the small screen as a TV movie in 1997 with James Le Gros the first actor to portray Raylan Givens and Peter Falk taking on the role of Harry Arno.
Raylan Givens books by Elmore Leonard:
Pronto (1993) ***½
Riding the Rap (1995)
Fire in the Hole (short story) (2002) – the basis for Justified.
Raylan (2012) ***½
Solo: A Star Wars Story (2018; USA; Colour; 135m) ***½ d. Ron Howard; w. Lawrence Kasdan, Jonathan Kasdan; ph. Bradford Young; m. John Powell. Cast: Alden Ehrenreich, Emilia Clarke, Woody Harrelson, Donald Glover, Thandie Newton, Paul Bettany, Phoebe Waller-Bridge, Warwick Davis, Clint Howard, Richard Dixon, Joonas Suotamo, Sarah-Stephanie, Deepak Anand, Slim Khezri, Ian Kenny, Douglas Robson, Omar Alboukharey, Sean Gislingham, Nathaniel Lonsdale. During an adventure into the criminal underworld, Han Solo meets his future copilot Chewbacca and encounters Lando Calrissian years before joining the Rebellion. Whilst this STAR WARS spin-off offers nothing particularly new or surprising, considering its troubled production history it remains a surprisingly consistently entertaining adventure. Ehrenreich displays the same roguish charisma as essayed by Harrison Ford and Glover also scores as Lando Calrissian. The action set pieces are effective and avoid the stilted choreography of recent efforts. Whilst the story itself may lack the gravitas and mysticism of its parent, it makes for more simple-minded fun. Although originally brought on board to complete the film after Phil Lord and Christopher Miller had been dismissed due to creative differences, it was widely reported that Howard re-shot more than 80% of the movie. Also shot in 3-D. 
BLACK AND BLUE by IAN RANKIN (1997, Orion, 498pp) ****½
Blurb: In the 1960s, the infamous Bible John terrorised Scotland when he murdered three women, taking three souvenirs. Thirty years later, a copycat is at work, dubbed Johnny Bible. DI John Rebus’s unconventional methods have got him in trouble before – now he’s taken away from the inquiry and sent to investigate the killing of an off-duty oilman. But when his case clashes head-on with the Johnny Bible killings, he finds himself in the glare of a fearful media, whilst under the scrutiny of an internal enquiry. Just one mistake is likely to mean losing his job – and quite possibly his life.
Ian Rankin had written seven Rebus novels before Black and Blue and had become an established name in the crime-writing field, but was seen as more of a B-list writer. This book exploded him into the A-list, where he has stayed ever since. In his introduction to this 2016 edition, Rankin recalls the personal turmoil he was going through at the time of writing. Living in France with a son diagnosed with Angelman Syndrome, the writer and his wife struggled with the bureaucracy of the French medical system. The family would eventually return to Scotland. The impression this left on Rankin fired his need to voice his concerns on a broader template. Also, around the time of writing the book, press interest in the historic Bible John killings had been heightened by new DNA evidence. Rankin had undertaken extensive research into the case and decided to incorporate a real life killer into his fictional story of a copy cat. Other elements incorporated into the story are police and corporate corruption, environmentalists protesting about pollution caused by the oil companies and a drug smuggling involving gangsters from Glasgow and Aberdeen. It was to become Rankin’s most complex and multi-layered book.
Rankin explores his protagonist in deep detail – his loyalty, his alcohol dependency, his inner-angst. What emerges is a very three-dimensional portrayal of a flawed man whose sole motivation in life is to see justice done. Saddled with a former colleague, whilst he is being investigated for malpractice in an old case, Rebus is as acerbic and dogged as ever. A loner tethered to a leash, which brings his anxieties to the surface. The book has a broad scope taking Rebus from Edinburgh to Glasgow, Aberdeen, the Shetlands and a North Sea oil rig. The separate plot strands are nicely interwoven revealing some surprising links along the way. Rankin’s research helps bring the locales and the police investigation to life in an enthralling way.
Black and Blue is a novel that shows a writer fully maturing and it would set the bar for the remainder of the series.
The Rebus Series:
- Knots and Crosses (1987) ***
- Hide and Seek (1991) ***
- Tooth and Nail (original title Wolfman) (1992) ***
- Strip Jack (1992)
- The Black Book (1993) ***
- Mortal Causes (1994) ***
- Let it Bleed (1996)
- Black and Blue (1997) ****½
- The Hanging Garden (1998) ****
- Dead Souls (1999)
- Set in Darkness (2000) ****
- The Falls (2001)
- Resurrection Men (2002) ****
- A Question of Blood (2003) ****
- Fleshmarket Close (2004) ****
- The Naming of the Dead (2006) ****½
- Exit Music (2007) ****
- Standing in Another Man’s Grave (2012) ∗∗∗½
- Saints of the Shadow Bible (2013) ***
- Even Dogs in the Wild (2015) ****
- Rather Be the Devil (2016) ***½
- In a House of Lies (2018)
Sugarland Express, The (1974; USA; Technicolor; 110m) **** d. Steven Spielberg; w. Hal Barwood, Matthew Robbins, Steven Spielberg; ph. Vilmos Zsigmond; m. John Williams. Cast: Goldie Hawn, Ben Johnson, Michael Sacks, William Atherton, Gregory Walcott, Steve Kanaly, Louise Latham, Harrison Zanuck, A. L. Camp, Jessie Lee Fulton, Dean Smith, Ted Grossman. A woman attempts to reunite her family by helping her husband escape prison and together kidnapping their son. But things don’t go as planned when they are forced to take a police hostage on the road. Spielberg’s first theatrical feature is a winning combination of drama and humour. Balancing the tone is the director’s biggest challenge as he takes on this adaptation of real life events. Hawn and Atherton score strongly as the misguided couple, whilst Johnson gives a quietly effective performance as a sympathetic lawman. The tone shifts sharply in its final act, but this remains an engaging tale. [PG]
Key Largo (1948; USA; B&W; 100m) **** d. John Huston; w. Richard Brooks, John Huston; ph. Karl Freund; m. Max Steiner. Cast: Humphrey Bogart, Edward G. Robinson, Lauren Bacall, Lionel Barrymore, Claire Trevor, Thomas Gomez, Harry Lewis, John Rodney, Marc Lawrence, Dan Seymour, Monte Blue, William Haade. A man visits his old friend’s hotel and finds a gangster running things. As a hurricane approaches, the two end up confronting each other. Tense thriller extracts maximum impact from its strong cast who are well directed by Huston. Bogart and Robinson’s antagonistic interplay is electric, whilst Trevor also excels as Robinson’s alcoholic mistress. Bacall and Barrymore offer good support. Rousing Steiner score and effective photography from Freund give added atmosphere to the production, which at times betrays its static stage roots until its exciting climax on the fog bound ocean. Won an Oscar for Best Supporting Actress (Trevor). Based on the play by Maxwell Anderson. [PG]
Three Billboards Outside of Ebbing, Missouri (2017; UK/USA; Colour; 115m) ***** d. Martin McDonagh; w. Martin McDonagh; ph. Ben Davis; m. Carter Burwell. Cast: Frances McDormand, Woody Harrelson, Sam Rockwell, Caleb Landry Jones, Lucas Hedges, Peter Dinklage, John Hawkes, Abbie Cornish, Brendan Sexton III, Samara Weaving, Kerry Condon, Nick Searcy, Lawrence Turner, Amanda Warren, Michael Aaron Milligan, William J. Harrison, Sandy Martin, Christopher Berry, Zeljko Ivanek, Alejandro Barrios, Jason Redford, Darrell Britt-Gibson, Selah Atwood. A darkly comic crime drama in which a woman pressures the police into continuing the investigation into her daughter’s murder. Multi-layered tale with themes of retribution, prejudice, guilt and redemption is brilliantly scripted and superbly acted. McDormand, Rockwell and Harrelson turn in top-notch performances. It is darkly comic, but the drama burns deep. At times it is a tough watch, but it remains engrossing throughout. A modern-day parable of rare complexity. Won Oscars for Best Actress (McDormand) and Best Supporting Actor (Rockwell). 
Christopher Lennertz is named by IMdB and Film Music Reporter as the man tasked with writing the score to the latest Shaft movie, due out in the summer of 2019. Lennertz has worked on a host of films and TV series since 1994, including the recent Lost in Space TV reboot. He previously worked with director Tim Story on 2014’s action comedy, Ride Along and its 2016 sequel. He also scored Pitch Perfect 3 and the recent remake of Baywatch. He won an Emmy in 2006 for his score for Supernatural. He has also scored several video games including the James Bond release From Russia With Love, for which he received good reviews for the way he recalled John Barry’s style. An adaptable composer, it will be interesting to see if he can add a distinctive feel to his score for Shaft.
Dark Passage (1947; USA; B&W; 106m) ***½ d. Delmer Daves; w. Delmer Daves; ph. Sid Hickox; m. Franz Waxman. Cast: Humphrey Bogart, Lauren Bacall, Bruce Bennett, Agnes Moorehead, Tom D’Andrea, Clifton Young, Douglas Kennedy, Rory Mallinson, Houseley Stevenson. A man convicted of murdering his wife escapes from prison and works with a woman to try and prove his innocence. An overly contrived, if admittedly engrossing and entertaining, plot relying on too much coincidence is all but overcome by the strong cast and technical accomplishments. Using the camera as the protagonist’s point-of-view for over half its running time, the gimmick seems a little forced. Bogart doesn’t physically appear until over an hour into the story, but Bacall holds the screen well and their star chemistry is still apparent. Hickox’s photography using the San Francisco locations and dark streets is moodily effective. Daves directs his own screenplay adaptation with a sure hand and uses hand-held cameras to good effect. Moorehead stands out in the supporting cast as a schemer. Based on the novel by David Goodis. [PG]