Book Review: “The Meg” By Steve Alten

It’s kind of fun when a book takes you on a nostalgia trip. 

When I was a kid, I loved the “Jaws” movies. 

I remember watching “Jaws” and “Jaws 2” for the first time when they debuted on network television. (I *think* they aired on ABC, but the years that have transpired since then leave things a bit hazy.)

I remember going to see “Jaws 3-D” in 1983 at Six West Theatres (in Westroads Mall) with my friend Ryan Anderson. I saw the dreadful “Jaws: The Revenge” with my mom in 1987 at Cinema Center.

Those movies were fun adventures centered around a deadly creature wreaking havoc. 

Steve Alten’s novel “The Meg” is a throwback to movie franchises like “Jaws” — and the ocean-based thrillers of author Peter Benchley. “The Meg: A Novel of Deep Terror” was first published in 1997, but Alten has since revised the story in subsequent editions (he says in the foreward that this is a “new and improved” version).

The novel follows the exploits of Dr. Jonas Taylor — a marine paleontologist who had an encounter with Carcharodon megalodon in the U.S. Navy when he was a submersible pilot during a top-secret mission in the Mariana Trench. 

Megalodons are pre-historic sharks — capable of growing up to 70-feet long — that subsist on a diet of whales. Because the predators were thought to be extinct, the Navy chalked up Taylor’s claims as those of a crazy man.

In the intervening years, Taylor has dedicated his life to the study of megalodons in an effort to prove what he saw was real. 

In “The Meg,” Jonas Taylor is given the chance to return to the mysterious depths of the Mariana Trench by his Sun-Tzu quoting colleague Masao Tanaka (who needs someone to take a look at a damaged sub, and find out why UNIS research drones in the trench have stopped working). 

Taylor is intrigued at the potential for finding a living megalodon — something that would allow him to find redemption.

“The Meg” reads like a big-budget movie. Alten’s prose is fast and fluid, and the story stays intriguing throughout — including the passages told from the shark’s point of view. 

It’s not a surprise that Hollywood eventually adapted Alten’s tale for the big screen. “The Meg” (starring Jason Statham) was released Aug. 10.

The novel is a lot of fun. Sure, it has its flaws (a subplot involving Taylor’s petulant wife feels a bit contrived), but the action sequences are well executed, and the novel is loaded with interesting details about Carcharodon megalodon (and other sea life). 

I’m planning to see the movie adaptation of “The Meg” this week. I have heard the movie strays from the narrative in the novel, so I’ll be interested to see how they compare. 

As an added bonus, this edition of "The Meg" includes a 67-page prequel "Meg: Origins." 

There are currently six books in “The Meg” series. If you are interested in learning more about the novels, visit Steve Alten’s website at www.stevealten.com. 

Previous post: Review: Netflix's Charming "The Guernsey Literary and Potato Peel Pie Society" 

 

Review: Netflix’s Charming “The Guernsey Literary and Potato Peel Pie Society”

I like my British period dramas. 

I’m fond of series like “Downton Abbey,” “The Crown,” and “Victoria.” I also enjoy theatrical pieces like “The King’s Speech.”

Any drama that looks like it could be a featured broadcast on the BBC or PBS Masterpiece is generally right up my alley. 

The moment I saw the trailer for Netflix’s “The Guernsey Literary and Potato Peel Pie Society,” I knew I’d add it to my watch list. 

The movie itself — a production of Euro production company StudioCanal — was an “acquisition” by Netflix. It was released theatrically in the United Kingdom and France earlier this year. 

“The Guernsey Literary and Potato Peel Pie Society” is based on the 2008 novel by Mary Ann Shaffer and Annie Burrows. The title alone drips “book club bait.”

“The Guernsey Literary and Potato Peel Pie Society” is set in 1946, and follows a London-based writer named Juliet Ashton (Lily James), who is on tour promoting her latest tome (written under the name Izzy Bickerstaff). 

Her publisher Sidney (Matthew Goode) has set up a gig for Ashton to write a piece for The London Times about the virtues of reading. 

Ashton receives a letter from a man named Dawsey Adams (Michiel Huisman) — a farmer on the Island of Guernsey who has a copy of The Selected Essays of Elia by Charles Lamb with Ashton’s name and address on the inside flap. 

He tells Ashton he’s read the book many times, and that Lamb’s writing made him laugh. Since there are no bookshops left on Guernsey, he is looking to procure a copy of Lamb’s “Tales From Shakespeare,” and wonders if she can send him the address of a shop in London. 

Ashton muses that there might be “some secret sort of homing instinct in books.” She is happy to purchase the book and send it to Adams, but asks for him to answer three questions in return. 

Those questions are related to The Guernsey Literary and Potato Peel Society — a group Adams mentions he is a member of in his letter (the club was started in 1941 as a way to hide a roast pig from soldiers during the Nazi occupation in World War II). 

Before long, Ashton journeys to the Island of Guernsey to learn more about Adams, and The Guernsey Literary and Potato Peel Society — sensing it might be fodder for a story. 

I must admit that I didn’t know German forces occupied the Channel Islands (of which the Bailiwick of Guernsey is a part) during World War II. It turns out the islands were under Nazi control from June 30, 1940 until May 9, 1945 — the only part of the British Isles to be occupied. 

This interesting footnote in history makes for some intriguing drama in “The Guernsey Literary and Potato Peel Pie Society.”

Ashton soon discovers the “book club” is about more than just sharing stories. A mystery lurks about a member who went missing during the war and the daughter, Kit (Florence Keen), she left behind.

Fans of “Downton Abbey” will be happy too see Lily James, Matthew Goode, and Penelope Wilton reunited on screen. 

“The Guernsey Literary and Potato Peel Pie Society” is directed by Mike Newell. While the name might not sound familiar, Newell directed “Four Weddings and a Funeral” and “Harry Potter and the Goblet of Fire.” 

The film itself is an engaging period piece. Handsome production design and solid performances elevate the material. 

There are some romantic movie cliches and conventions that pop up in “The Guernsey Literary and Potato Peel Pie Society.” For example, Ashton is “in a relationship” with a diplomat (Glen Powell) at the beginning of the movie. Despite the man’s charm, you can sense a mile away that Juliet’s heart is meant for another.

But that’s a minor quibble, and fairly routine for this territory.  

Earlier this week I wrote about actress Lily James in my review of “Mamma Mia! Here We Go Again.” She really is a delightful performer, and does a good job playing a restless writer who has made her home “in the world of books.“

Books are something that have been important in my life, and I responded to “The Guernsey Literary and Potato Peel Pie Society” as a result. 

Definitely worth checking out. 

Previous post: "Green On Green" World Premiere Puts Spotlight on Local Filmmakers and Existential Conundrums 

“Green On Green” World Premiere Puts Spotlight on Local Filmmakers and Existential Conundrums

Last February I wrote a feature focusing on my friend Ben Matukewicz’s company Aksarben Creative — a creative services business co-founded with fellow filmmaker Tom Knoblauch.

In that article, Ben teased the 2018 feature film project “Green On Green.” 

On Aug. 9, Bridget and I had the opportunity to attend the “world premiere” of the film at Omaha’s Aksarben Cinema. 

“Green On Green” is an ambitious film that tells the story of Camille Green (Rachel Dinan), a “creative non-fiction” grad student at the University of Nebraska at Omaha. Camille is trying to come up with a meaningful topic for her “capstone memoir project.” 

That process plunges our heroine into an existential crisis involving the environment (inspired by the recent emerald ash borer outbreak in Nebraska), politics (a love interest is obsessed with the Buckley/Vidal debates of 1968), and a quest (inspired by Melville’s “Moby Dick”). 

Green becomes determined to invite herself onto an ecology research trip — hoping a journey void of distractions will help her have an “epiphany.” 

“Green On Green” infuses more than a little irony into the narrative. 

Dinan is the glue that holds the story together as Camille Green. The spunky redhead is sort of a blue collar Emma Stone. 

Knoblauch wrote and directed “Green On Green.” This is the fourth feature-length film he and Matukewicz have produced (after “Almost A Weekend” in 2015, “Adoptation” in 2016 and “Naomi Jones” in 2017). 

In a Q&A seasion after the movie, Knoblauch told the audience that his inspiration was his obsession with nature and existential crises. “I try to make personal movies to some extent,” he said. 

“Green On Green” was written in the spring of 2017. Knoblauch said he wanted to do an “outdoor” film after 2017’s “Naomi Jones.” 

It sounds like the filmmaker is obsessed with detail, and finds the process stressful throughout: “Did we get what we needed... what if the hard drive falls into a puddle?”

I’m relatively new to Knoblauch and Matukewicz’s films. “Green On Green” reminded me of a droll fusion of Wes Anderson and Woody Allen — emphasizing meaningful dialogue, quirky characters, and ironic situations. 

The “temp score” Knoblauch used for “Green On Green” featured the musical stylings of Paul Simon. 

Local musicians — who invoked a similar feel — were featured in the final edit. One song that stood out to me was “The Radcliffes” by The Real Zebos (which mentions Omaha’s Brownell Talbot School in the lyrics):

There were also some classical tunes included. “Pachalbel’s Canon” provides particular resonance in the film (Camille Green opines that “Canon in D” is the “Hey Jude” of the 17th century). 

Knoblauch says he finds inspiration in filmmakers like Robert Altman and Wes Anderson (particularly Anderson’s older films). He prefers films that are “indie and talky.” 

When I asked about the budget for “Green On Green,” Knoblauch quipped, “It was like $200...very low.” He went on to say that having acquired equipment during previous projects has helped reduce production costs immensely. 

I must say, the results seen on screen are impressive. 

Knoblauch and Matukewicz are also fortunate to have talented people donate and invest time on their productions. One person they worked with (Megan Friend from “Adoptation”) went on to work on the HBO series “Girls” and the Netflix drama “Orange is the New Black.”

Aksarben Creative’s ability to bootstrap productions is something I admire. 

I’ve had friends and relatives over the years who’ve wanted to make movies, but continually “wait around” until it is the right time or until they have the proper resources available. 

I keep telling them they need to dive in and start creating. 

In addition to the screening of “Green On Green,” attendees were treated to the short film “Racist Cannibal” by playwright grad student A.C. Kaufman Lill. 

“Racist Cannibal” tells the story of a young couple who find out (from a DNA test) that they are genetically identical.

Lill told the attendees that the story is loosely based on her husband and herself. “Racist Cannibal” was filmed in her apartment, took roughly six weeks to write, and is her first short film. She says her writing style is influenced by writers like Neil Simon (“The Odd Couple”) and John Patrick Shanley (“Joe Versus The Volcano”).

Attending events like the “Green On Green” World Premiere serve as a reminder that we need to support creative efforts in our local community. 

Knoblauch mentioned how supportive the local performing arts community has been to him. 

While signature projects like “Green On Green” keep the company busy, Aksarben Creative also works to support and develop projects like “Racist Cannibal.” In fact, they are helping with an upcoming short film called “Stacked” (we were surprised to find out at the event that “Stacked” was written by our friend Wade Rodman). 

If you are interested in seeing “Green On Green” and/or “Racist Cannibal,” both films will be featured at the 2018 Prairie Lights Film Festival in Grand Island, NE, on Oct. 13. 

If you’d like to learn more about Aksarben Creative (and the services they offer), please visit their website at www.aksarbencreative.com. 

I look forward to seeing the next Aksarben Creative production, and appreciate efforts by local filmmakers to help grow the creative community here in Omaha. 

More than anything else, I appreciate creative minds that “try.” 

Ideas are easy... execution is hard. 

As Melville wrote, “I try all things, I achieve what I can.” 

Previous post: Review: "Mamma Mia! Here We Go Again" 

Review: “Mamma Mia! Here We Go Again”

The key to any good movie musical is the music. 

That’s not to say the plot doesn’t matter, but if the musical numbers are good, they can make a pedestrian plot work (and cure many ills). 

That was the case with 2008’s “Mamma Mia!” — based on the hit broadway musical featuring the music of 70’s pop group ABBA.

Unfortunately, the musical numbers are the greatest weakness in the sequel.

“Mamma Mia! Here We Go Again” picks up some years after the first movie. Sophie Sheridan (Amanda Seyfried) now owns her mother Donna’s (Meryl Streep) coastal hotel — ensconced in an attractive hamlet on the coast of Greece.  

Sophie is re-opening the hotel a year after Donna’s death, having made numerous improvements with partner Sky (Dominic Cooper). 

In the first movie, Sophie invited three of her mother’s former lovers to her wedding in hopes that she’d learn which one was her father. By the time the ceremony rolled around, Sophie had accepted all three as her father, and Sam Carmichael (Pierce Brosnan) married her mother. 

Sam still lives on the island in “Mamma Mia! Here We Go Again,” but the other two men — Harry Bright (Colin Firth) and Bill Anderson (Stellan Skarsgard) — are unable to attend the hotel’s re-opening.

Those developments — combined with relationship troubles with Sky — are causing Sophie to become wistful for her mom. 

“Mamma Mia! Here We Go Again” alternates focus between Sophie in “present day” and her mom in 1979.

Young Donna is played by Lily James. I’ve been a fan of James since her turn as Lady Rose on the hit PBS series “Downton Abbey.” She’s really radiant in “Mamma Mia! Here We Go Again.”

It’s pretty interesting to see the backstory elements involving Donna’s early years — after college graduation, when she traveled the world and had flings with all three “baby daddies.”

But, as I said earlier, successful musical numbers are key in movies like “Mamma Mia! Here We Go Again.” 

I’m a fan of this genre. I include “La La Land” and “The Greatest Showman” among my favorite movies of the past few years. Addictive soundtracks made those movies work. 

In my opinion, the benchmark for modern-day “movie musicals” is 1978’s “Grease.” My brother took me to see the movie when I was six, and I played the two-record soundtrack album over.. and over.. and over...

Going into “Mamma Mia! Here We Go Again,” I was concerned this sequel would be something akin to “Grease 2” (the unfortunate 1982 sequel to “Grease”). 

I’m happy to report that “Mamma Mia! Here We Go Again” is far more palatable than that sequel. The filmmmakers were smart to include popular ABBA tunes featured in the first movie — including “Waterloo,” “Mamma Mia” and “Dancing Queen.” 

Unfortunately, most of the other songs featured — basically “deep cuts” from the ABBA discography — are less compelling. 

That’s a shame because there is a lot to like about “Mamma Mia! Here We Go Again.” 

The movie is at its best during the 1979 flashback sequences. Alexa Davies and Jessica Keenan Wynn are fun as Young Rose and Young Tanya, and dead ringers for Julie Walters and Christine Baranski. 

The filmmakers get everything in order by the end of “Mamma Mia! Here We Go Again” — with the music taking hold and a baptism sequence that has surprising amount of emotional pull. 

Cher even shows up to do a couple numbers as Sophie’s grandmother Ruby Sheridan. 

The “Mamma Mia!” movies are the cinematic equivalent of a family reunion. It is enjoyable to watch bright, colorful, and energetic films featuring actors from different generations waxing sentimental and having fun together on the big screen. 

That is something that has become increasingly rare at the box office today.

 

Previous post: Review: Is Netflix's New Movie "Like Father" Worth a Watch? 

Review: Is Netflix’s New Movie “Like Father” Worth a Watch??

My past two blog posts have focused on two Netflix original movies (sci-fi thrillers “Extinction” and “How It Ends”). 

What I like about Netflix’s content strategy is that the streaming giant produces the sort of movies you’d pick up at Blockbuster Video on Friday and Saturday nights back in the ‘80s and ‘90s. 

The movies might not be high art, but they are fun way to wind down after a busy week. 

Point in case is the new comedy movie “Like Father” (starring Kristen Bell, Kelsey Grammer, and Seth Rogen).

“Like Father” is a frothy comedy that tells the story of Rachel Hamilton (Kristen Bell) — a workaholic ad exec who is jilted at the altar by fiancé Owen (Jon Foster) after he discovers she made work-related calls mere moments before walking down the aisle (her phone is hidden in the bouquet). 

Her father Harry (Kelsey Grammer) makes a surprise appearance at the ceremony. He has been largely absent from Rachel’s life. 

In the aftermath of the wedding fiasco, Harry and Rachel reunite (much to the chagrin of the spurned bride). 

After an evening of heavy drinking — and awkward bonding — father and daughter indadvertently end up on Rachel’s scheduled honeymoon cruise together. 

Suddenly, the hungover pair finds themselves captive on a Royal Caribbean ship — having to navigate their estranged relationship and the foibles that entails. 

It’s a decent setup to a likable story written and directed by Lauren Miller Rogen (Seth’s wife). 

It might not be the most original territory, but Bell and Grammer both do a good job with the material, and have good chemistry together. 

Bell has experience playing these sorts of aloof characters (she is particularly good at it on the fable-like comedy series “The Good Place”). 

Grammer is really the glue that holds the story together. Harry’s self-effacing manner helps create a likable vibe — and a nice counterpoint to Rachel. 

Along for the ride is a cast of quirky couples (tablemates during the duration of the cruise) for our duo to interact with. 

Seth Rogen plays Jeff (who makes a point of mentioning he is from Edmonton, AB, in Canada), an overly-sincere passenger whose wife recently left him. Upon a meeting at a ship bar, Rachel suggests they “hang out...(and) live in the present.” 

One of the more interesting aspects of “Like Father” is that the movie itself plays like an advertisement for Royal Caribbean Cruises (much of the movie was shot on the Harmony of the Seas cruise ship). 

I don’t know if this was an intentional product placement or not, but the movie makes a Royal Caribbean cruise seem totally legit.

(One interesting tidbit — back in the early 2000s my wife and I did marketing work for The Cruise Company here in Omaha, but never once had the opportunity to go on a cruise...which just seems wrong.)

“Like Father” is one of the more enjoyable original Netflix comedy movies I’ve seen. It has a likable cast, occasionally tugs at the heartstrings, and offers some fun laughs. 

Recommended. 

Previous post: Review: Netflix's "How It Ends" a Decent Post-Apocalyptic Road Trip 

Review: Netflix’s “How It Ends” a Decent Post-Apocalyptic Road Trip

A few days ago I reviewed the Netflix movie “Extinction” on this blog. I was lukewarm on the movie, but found it to be an entertaining diversion nonetheless. 

It is an awfully tough game for outfits like Netflix to produce voluminous amounts of content annually and keep the quality high. Be that as it may, I commend the streaming service for its push into original content. 

Bridget and I recently watched the Netflix movie “How It Ends” — a post-apocalyptic thriller that is, at its core, a road trip movie. 

The movie is told from the point of view of Will Younger (Theo James), a young urban professional who lives with his girlfriend, Samantha Sullivan (Kat Graham), in Seattle, WA. The movie begins with the couple at the OB-GYN office, getting an ultrasound, and learning the gender of their baby. 

Will is set to fly to Chicago to ask Sam’s father Tom (Forest Whitaker) for his blessing on the couple’s upcoming nuptials. 

Tom and his wife, Paula (Nicole Ari Parker), live in an upscale apartment in downtown Chicago. Unfortunately, the dinner conversation between Will and Tom turns awkward and uncomfortable. As a result, Will doesn’t mention the proposal (or the fact that Sam is pregnant). 

The next morning Tom receives a FaceTime call from Sam in his hotel room. She becomes distracted during the video chat, and mentions the power has gone out. Odd noises emanate from the phone. Sam tells Will she’s scared, then the call breaks up. 

Will goes to the airport to fly home, but quickly realizes he won’t be able to fly out. A news report on TV mentions a large seismic event off the coast of California. Power and communications outages prevalent throughout the country.

Sensing he’s going nowhere fast, Will pays a driver to take him back into the city to Tom and Paula’s apartment. 

Tom — who served in the military for 27 years — is packing and planning. 

While packing his gear, Tom barks, “Let’s look at what we know, Will. There was an event. A couple hours ago. Out west. The power shut off here...and 2000 miles away. We have no idea what’s happening. Yet we’ve got F-22s doing flybys. It’s not about waiting for the power to come back on. The only thing we can do is what we decide to do.”

What Tom wants to do is drive across the country and get his daughter. Tom and Will set out to traverse the western United States in Tom’s late model Cadillac. 

As I type this, I realize the plan sounds somewhat ludicrous, but the overall concept works for me. From that point on the movie becomes a “road trip” story where Tom and Will struggle to drive cross country while trying to come to terms with their tepid relationship. 

When Bridget and I were in college, we read Pat Frank’s 1959 novel “Alas, Babylon” as part of a political science course. That story was about the struggle to survive in the aftermath of a nuclear war — where communications and power lines fail, convicts escape from lock-up, and food and fuel are in short supply. 

Aspects of “How It Ends” remind me of Frank’s novel. 

Because the story stays firmly planted on Will’s journey, viewers are left in the dark about what exactly we’re dealing with — is it a natural disaster or a human-induced catastrophe?

Compasses don’t work correctly, birds fly in peculiar patterns, and storms aren’t following meteorological norms. 

Along the way, we see creepy images of over-turned train cars loaded with military equipment. Our protagonists also have to be vigilant to avoid getting carjacked by nefarious characters. 

The pair even hires an auto mechanic they meet along the way (played by actress Grace Dove) to maintain the Cadillac during the trip.

I found “How It Ends” to be an intriguing adventure. The film has an eerie, sepia-toned look, and the car trip through “flyover country” was pretty compelling. 

Online response to “How It Ends” has been largely unfavorable (much of the criticism focuses on the movie’s ending, which I WILL NOT spoil here). 

I liked Theo James as a leading man in the movie. He hasn’t yet made a splash in Hollywood. His most notable role was as “Four” in the “Divergent” movie trilogy a few years ago (based on the terrific book series by Veronica Roth). 

I also enjoyed Forest Whitaker in “How It Ends.” Neither he nor James are given a lot to work with here (the dialogue during the meat of the narrative is pretty sparse), but I enjoyed following the arc of their relationship as the movie progressed. 

If you are feeling adventurous, give “How It Ends” a try. While the movie isn’t perfect, I found a lot to like in this post-apocalyptic tale. 

Previous post: Netflix's "Extinction" a Peculiar Sci-Fi B-Movie 

Review: Netflix’s “Extinction” a Peculiar Sci-Fi B-Movie

Netflix continues to make mass content acquisitions in its quest to rule the streaming realm. 

The sci-fi movie “Extinction” is one such acquisition. The movie started streaming on July 27. Apparently, the movie was originally set to be distributed by Universal Pictures, but was sold to Netflix. 

“Extinction” follows the story of Peter (Michael Pena) — an engineer having nightmares that seem to foreshadow an apocalyptic future (where he and his family are fighting a mysterious enemy of alien origin). 

Not only do the dreams impact his sleep habits, they become a growing obsession. His wife Alice (Lizzy Caplan) and two daughters are growing frustrated with the distraction. 

In addition to missing scheduled “family time,” the visions also effect his work. As a result, he agrees to visit a clinic to get help for his condition. 

An encounter in the clinic’s waiting room with a fellow patient causes Peter to ditch the appointment. The man, who has had similar visions, tells Peter the doctors “don’t want us to know what’s coming.” 

Later that evening, Peter and Alice are hosting a party at their high-rise apartment (celebrating Alice’s promotion at work) when the city is attacked. 

Interesting setup, right?

In the early stages of “Extinction” you can’t tell if Peter’s visions are real, or if the whole thing is just the result of a man’s insomnia-induced delusions. 

It’s heady drama that could have stepped off the pages of a Stephen King novel. 

For the first hour things are intriguing as the narrative moves from a psychological thriller to a suspense-filled “survival of the fittest” tale as our protagonists battle mysterious beings. 

Then everything changes at the 62-minute mark in the movie...a big twist is revealed. 

And while the twist is interesting, the final 30 minutes of the movie fell apart after its revelation — losing some of the momentum built in the first hour. 

“Extinction” is an odd mix of “War of the Worlds” and “Blade Runner” — never achieving the greatness of either. 

I will say that I liked Michael Pena as the leading man in “Extinction,” and think he is one of the underrated character actors in film today. He did a solid job in the movie. 

Unfortunately, the script for “Extinction” suffers from its own ambition. I’m not sure if it was a conceptual problem or a structural problem with the story. The final result is a film with potential that ultimately suffers from poor execution.

Regardless of the flaws, if you are a Netflix subscriber looking for a diversion on a Saturday night, you might want to check “Extinction” out..or not..

Previous post: 32 Years Later, Christian Metal Band Stryper's Album Calls On Me