Any novel that opens with crazy jihadists killing jolly old Saint Nick on the first page can’t be too bad.

“Soft Target,” in bookstores Dec 6th, manages to be more than just not bad; it’s a modern Western on amphetamines; it’s Tom Clancy if Clancy were a better weaver of the old fashioned good vs. evil yarn; it’s… well, it’s Stephen Hunter all the way. Semper fi and all that.

Those who are familiar with the author will understand, and those who are not–well, what are you doing reading a book review by me when there is writing out there carved by a master?

“Soft Target” is the new Hunter thriller that takes place in a thriller writer’s fantasy land: America, the Mall. Appropriately, it combines the two things America loves the most: shopping and violence. Those two ingredients are enough to carry the novel through a harsh and very quick 254 pages. You will not want to put this one down.

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Ed. Note: This is the second part of a two-part excerpt. You can purchase the novel here.

The olive- skinned man with the Afro at the back of the room glanced around nervously. Whoever it was, he had found what he was looking for, and it was Dewey. Dewey recognized that. He saw it in the hatred, in the way the man’s eyes darted about constantly, settling back on him every few moments. Dewey knew when someone had come to kill him.

The killer was young, early twenties. He wore an orange polo shirt with the collar stuck up. He’d marked Dewey, a minute ago, five minutes ago, half an hour ago. He stared, unaware that Dewey could see him in the mirror behind the bar.

Dewey reached behind him and felt the .45 caliber handgun tucked into the small of his back, beneath the windbreaker. He stood up.

Dewey looked quickly at Talbot, who was deep in conversation with the Frenchwoman. He turned and pushed quickly through swarms of people to the door. There, in the glass of the door, he caught a glimpse of the bright orange shirt. The killer was following. Dewey had surprised the killer with his abrupt move.

He stepped outside onto the crowded sidewalk. It was still hot and he felt sweat pouring from his chest, wetting his shirt. He needed to move fast now. He jogged one block, then went left. He moved away from the strip, down empty sidewalks, past small houses. He jogged past car after parked car, beneath the glow of streetlights.

Looking at windshields as he moved, Dewey searched for a reflection, a sign the young killer was following behind. In the driver’s side window of a pickup truck, he caught a glimpse of the orange shirt. The killer, trying to keep up, was running too fast.

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The  coup d’etat as a method for changing government is, to me, fascinating.  Libraries have been written about revolutions, but the much more often utilized coup d’etat  is misunderstood; a secretive, often lethal, highly violent, and brutally efficient military-led format for quickly and dramatically altering history. 

I wrote “COUP D’ÉTAT ” to take the reader into the cockpit of an actual coup – to see the planning, the tight kill team operation, the bloodshed, required to make a coup work.  I focused on Pakistan because it is all too likely that the U.S. will soon be faced with having to do just that – remove a future Pakistani president in the middle of the night, before he drags us and our allies into a broader conflict.

Some facts to think about:

First, Pakistan and India, our close ally, have fought three wars since 1947.  All three wars occurred before the two countries had nuclear weapons.  Both countries now possess hundreds of nuclear weapons, enough to wipe each other out many times over. 

Second, Pakistan is 97% Muslim.  It is a question of when – not if – Pakistan elects a radical Islamist in the mold of Ayatollah Khomeini as its president.

Third, China sits at the northern border of both countries, is strategically aligned with Pakistan and covets India’s natural resources.

When “COUP D’ÉTAT” begins, Pakistan is a year into the presidency of a radical Islamist.  A war sparks between Pakistan and India, which Pakistan quickly escalates into a nuclear confrontation.  With India on the brink of unleashing a response that threatens to involve China and the U.S. in a theater nuclear war, the U.S. intervenes in the only option left:  by designing and executing a “COUP D’ÉTAT”  in Pakistan and removing the Islamist before he engulfs the region, and the world, in a war whose outcome could make our current engagements in Iraq and Afghanistan seem like child’s play in comparison.

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We live in an age where it’s almost impossible to get truly lost. Between GPS systems, the ever-growing presence of surveillance cameras, the ability to track credit-card purchases instantly around the globe, and cell-phones that can connect us via calls and texts to nearly anyplace in the civilized world, a person can feel pretty confident that they can’t ever truly lose contact with loved ones in a time of need.

But what if that sense of security suddenly disappears? And even worse, what if you can’t remember all the things that are important to you, and those around you are claiming they don’t know you either?

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That is the harrowing dilemma at the heart of the terrific new thriller “Unknown,” a film that updates classic Hitchcock thrillers like “The Man Who Knew Too Much” to the modern world but still relies on timeless foundations of solid performances, inventive writing, perfectly moody atmosphere and a reality-based sense of location that makes every moment feel all too real. And at its core is the essential idea of an Everyman who is thrust into a terrible situation and must find the inner strength and cleverness to find his way back out.

Following Dr. Martin Harris (Liam Neeson) and his wife Elizabeth (January Jones) as they go to Berlin for an important botany conference, Martin quickly finds he has to race back to the airport after forgetting a vital briefcase with classified information. He goes back so quickly that even his wife doesn’t know where he went, and when he suffers a four-day coma after a taxi accident, Martin finds that his wife claims she doesn’t know him, another man (Aidan Quinn) is claiming to be him, and that he can’t even remember what secrets he was bringing to the conference himself. He turns to his cab driver (Diane Kruger) and a former East German secret policeman to help him figure out the mystery, one that spirals ever more complexly through a series of shocking twists.

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About a decade ago, Russell Crowe was on a career roll that was almost unprecedented in Hollywood history, scoring Best Actor Oscar nominations three years in a row for 1999’s “The Insider,” 2000’s “Gladiator” and 2001’s “A Beautiful Mind,” while taking home back-to-back trophies for the latter two films. He may be Australian, but he had built a persona beloved worldwide as both a cinematic chameleon as well as an Everyman extraordinaire, able to slip into seemingly any kind of role – from a doughy corporate whistleblower to a Roman warrior to a schizophrenic yet sensitive genius – with sympathetic aplomb.

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But aside from the vastly underrated “Cinderella Man” five years ago, Crowe has slipped off the rails a bit. He made several missteps that proved largely unappealing to the masses of moviegoers, only starting to rebound this year with the $100 million-grossing yet still disappointing “Robin Hood” (full disclosure: looking back, this is the one positive review this year that I regret givin, as the film has not held up well in memory due to its overly ponderous tone). But in his new film “The Next Three Days,” Crowe digs deep and pulls off his most appealing performance in years. Working under the always-masterful Paul Haggis (“Crash,” “Million Dollar Baby”), who fills the shoes of writer and director in this one, Crowe plays John Brennan, an English professor at a Pittsburgh community college who has a young son and an incredibly sexy and supportive wife, Laura (Elizabeth Banks).

He’s content with his lot in life, but Laura hates her boss so much that when the boss winds up murdered, she gets pegged as the prime suspect and is railroaded into a 20-plus year prison sentence. As months and then years tick by and John sees their son growing up ever more distant and alone, he is frustrated by the fact that all types of appeals have been exhausted and nothing legal will ever appear to get her out. (more…)

With 9 reviews in and “Shutter Island” currently sits at 89% at Rotten Tomatoes. 8 positive reviews to 1 negative. (more…)

It’s been an interesting past decade for Mel Gibson. He starred in a blockbuster comedy (“What Women Want”) as well as a powerful smash thriller (“Signs”) before deciding to take a long break from in front of the camera. He then directed “The Passion of the Christ,” turning his self-financed, highly risky and hyper-violent portrayal of Jesus Christ’s torture and death by crucifixion into a smash hit that earned $600 million worldwide despite critics who claimed the film had anti-Semitic undertones that Gibson denied.

Then in the midst of a long break from all things creative, Gibson’s personal life fell apart with a drunk-driving arrest in which he blatantly unleashed an anti-Semitic verbal tirade and an affair which ruined his 29-year marriage and resulted in an out-of-wedlock child that largely shattered his image as one of Hollywood’s most devoutly religious members. After directing just one film since “Passion” (2006’s modest hit “Apocalypto”), Gibson decided he was finally ready to return to the big screen as a movie star again.

The question is: are audiences ready to embrace him in return? And does he still have the Midas touch for smash-hit action films? In the new film “Edge of Darkness,” Gibson returns to his benchmark persona – playing a by-the-book cop who suddenly opts to break all the rules while avenging the death of a loved one, this time his daughter. (more…)

The way I see it television needs, among other things, the following:

1. Science Fiction/Thriller/Horror Channel

A short form/short film channel showcasing those genres. Independent producers, writers, creators could submit work to be aired. It wouldn’t have to be, nor should it be at the Sundance level of professionalism delivered on DigiBeta and starring Cameron Diaz doing a favor for the filmmaker because it’s her friend’s cousin, either.

We don’t want that. There’s plenty of that kind of venue and they turn down 99% of the stuff submitted anyway, mainly because it’s not the work of someone’s friend’s cousin. So forget that right away. It has to be underground, guerilla, shoestring and, most important, good. Very good. Damn good. But not expensive. How can you do that, you say? 

With writing.   (more…)

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Sin Nombre is a fictionalized account of the largely unknown (to Americans, at least) struggle that would-be immigrants go through long before they even get to the U.S. border. The story of a young man on the run from a murderous gang is told through those hardships. Assuming this is a realistic portrayal of life for residents of South and Central America, what these people go through is terrifying and dangerous. Anyone who would willingly face this is a person of character, or at least awfully tough.

But just because the characters are sympathetic doesn’t mean they’re in a good movie.

Sin Nombre is at once an illuminating portrayal of anonymous people (hence the title: in English, Nameless) and a thriller marred by long stretches of un-illuminating inactivity, poutiness by the lead character as a substitute for acting, and a spectacularly clichéd climax. The fact that the picture is in a language other than English elicits in some American critics the same reaction that British accents bring out in American audiences: This doesn’t sound like what I hear every day, so it must be important. (more…)

The primary attraction to any Andrew Klavan novel is a well-constructed, breathlessly paced story that grabs hold within a paragraph and never lets you go. In this respect, Klavan’s a narcotics dealer, a deliverer of addictive, satisfying escapism created to transport you from reality — which in a way makes his latest thriller, “The Last Thing I Remember” a gateway drug for young adults.

Opening sentence: “Suddenly I woke up strapped to a chair.”

Strapped to that chair is Charlie West, a typically bright and motivated high school student who has no idea how he got there. The last thing he remembers is a good though unexceptional school day but nothing that connects to the where, how or why of his present and immediate circumstance. Not only has he been tortured, but voices in the hall have just decided to kill him … slowly.

From here Charlie will have to escape, out run and out-wit his deadly, resourceful captors and unravel what happened in-between scoring a first date with his dream girl and waking up in, well,  an Andrew Klavan page turner. The plot never stops moving or thickening and as the pieces come together, Charlie finds himself the only hope between … and that’s all you’re getting from me. (more…)