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Tag Archive: Max Allan Collins


Review by C.J. Bunce

With his Vietnam veteran-turned-hitman Quarry, author Max Allan Collins has built a substantial, possibly never-ending crime noir series.  Now at book 14 and adding a 15th this November with Hard Case Crime’s release of Killing Quarry, Collins has surpassed the number of books Collins’ pal Mickey Spillane published about Mike Hammer.  Collins has finished or co-authored nearly as many crime novels with Spillane posthumously, reflecting the prolific nature of Collins’ crime writing and expertise.  And that’s not even addressing Collins’ noteworthy Road to Perdition, five other book series and countless tie-in novels.  Cinemax′s 2016 series Quarry is inspired by Collins’ character, and thanks to writers/show creators Graham Gordy, Michael D. Fuller, with an episode by Collins and another by Jennifer Schuur, you have eight intriguing episodes of television waiting for you.  Its eight episodes are now streaming on Vudu, Amazon Prime, other platforms, as well as home video.

Director Greg Yaitanes created a rarely seen snippet of history as the backdrop for the series, with show lead Logan Marshall-Green (Spider-Man: Homecoming, Prometheus) as Mac Conway, dubbed Quarry as the show progresses, accused with his friend of misdeeds in Vietnam as he returns home to Memphis after his second tour.  Along with the Vietnam War and its aftermath is turmoil with bussing a desegration that envelopes his friend’s family.  Costume designer Patia Prouty, who worked on Almost Famous, Justified, and Pulp Fiction, re-creates the good but mainly the bad designs of the era, with equally good art and production design that will have you feeling like you’re been transported back in time.  Conway is quickly reeled into a local (and somewhat yokel) crime underworld, resulting in his friend’s death and requiring him to kill for the local, quirky kingpin to earn off the amount his buddy owed.

It’s Cinemax, so expect more sex and bloody gore than necessary, but you’ll feel enough sympathy for Marshall-Green’s Conway as a put-upon anti-hero that you’ll keep coming back for more as ugly and as strange as he finds his circumstances.  The supporting cast fills into the layered characters nicely, with Jodi Balfour (True Detective) as his wife, Peter Mullan (Children of Men) as the kingpin called The Broker, Nikki Amuka-Bird (Doctor Who, Jupiter Ascending) as his friend’s widow, and Mustafa Shakir (Marvel’s Luke Cage) as her mysterious new admirer.  Damon Herriman (Once Upon a Time… in Hollywood) is outstanding as an intermediary with The Broker, a layered character who has his own problems beyond his job as killer and killer’s aide.

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Review by C.J. Bunce

Fans of any character or universe love their fandom and often can’t get enough of it.  It’s why writers keep writing new versions of Frankenstein 201 years later and new stories featuring James Bond 66 years later and Sherlock Holmes 132 years later.  Fans of writer Mickey Spillane′s Mike Hammer novels (or the Darren McGavin or Stacy Keach television series) have not just the 13 novels Spillane wrote beginning 72 years ago, but now a full two dozen thanks to Spillane’s co-conspirator of hard-boiled crime and his successor, Max Allan Collins.  In last year’s centenary of Spillane’s birth, that meant the release of the unpublished first Mike Hammer novel Killing Town (reviewed here at borg).  Using the combined talents of Spillane and Collins, it’s a crime story as good as they get.  With the latest team-up of Spillane and Collins, Murder, My Love, Collins proves he has mastered the voice of the famous cop-turned-private eye.  This book is 100% end-to-end Collins, as the writer says he worked from Spillane’s notes but all of the prose is new material.  And that’s fabulous, because this book is all Mike Hammer at his best.

As with Killing Town, Collins’ Murder, My Love is a shorter Hammer novel and a quick read.  Personally at 200 pages I find it the ideal length–all pulp novels, classic paperback mysteries, true crime novels, etc. should be able to be gobbled up in a single trip (like on a Greyhound bus from Detroit to Cincinnati or a train from Omaha to Denver).  I soaked up Murder, My Love in two sittings, and it was an entirely satisfying read, complete with Hammer and his assistant/also cop-turned P.I., Velda, who Collins writes cleverly here first person in a few pages of “off-camera” playback that is some of the best material in the book.

Max Allan Collins signing at San Diego Comic-Con in 2018.

It’s a story set later in Hammer’s career, with Collins establishing a perfect picture of New York City from a few decades ago as he takes a U.S. senator on as a client, a senator with White House ambitions.  Unfortunately he and his wife have a history of extramarital affairs and now someone else knows, resulting in blackmail.  Hammer and Velda embark on the detective work, interviewing the subjects of the senator’s liaisons.  Once they find the schemer behind the blackmail, that’s when the body count begins.  One-by-one the possible suspects end up dead, and Hammer isn’t exempt from getting in the line of fire.

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Review by C.J. Bunce

Eighty-five years ago today, April 1, 1934, two Texas highway patrolmen, 26-year-old Edward Wheeler and 22-year-old Holloway Murphy were on motorcycle patrol, checking on a car they thought may need assistance.  Instead, they were gunned down by Clyde Barrow and Bonnie Parker.  It was Easter Sunday.  The two notorious criminals had repeatedly evaded the law, in part because they were sheltered in an era where the stupidity of the masses outweighed sense and a large segment of the populace viewed them as some kind of folk heroes.  Despite being captured by two former Texas Rangers, Frank Hamer and Maney Gault, that legendary hero status stuck somehow, thanks in part to Hollywood, and specifically the rather popular and also critically acclaimed movie Bonnie and Clyde starring Warren Beatty and Faye Dunaway.  That film portrayed a rollicking, at times humorous, ride, which in fact, shared little of substance about the criminals and their victims.  Hollywood is now doing an about-face with a new, edgy, thoughtful drama, which includes the murders of Wheeler and Murphy and others, in director John Lee Hancock‘s The Highwaymen, now on Netflix.

Hancock, who wrote screenplays for the Kevin Costner/Clint Eastwood film A Perfect World, the screenplay for Eastwood’s Midnight in the Garden of Good and Evil, and wrote and directed the 2004 version of The Alamo, offers up a reserved, measured tale not of the infamous criminals this time, but the two aging men, Hamer and Gault, who knew how to track and kill criminals.  That’s thanks to a script by John Fusco, who has experience writing historical accounts for the screen, as found in his Billy the Kid story Young Guns, the Babe Ruth biopic Babe, the 1890s horse rider tale Hidalgo, and his heavily researched series Marco Polo.  Despite the sometimes dry “historical drama” label, The Highwaymen is by no means devoid of compelling storytelling.  Plus, headlined by Kevin Costner, playing the elder more experienced former Ranger Frank Hamer, and Woody Harrelson as the slightly less experienced B.M. “Maney” Gault, the film showcases the chemistry between the duo.  In one key dramatic sequence the two lawmen come upon a temporary residence for the criminals, looking for clues among the closeted clothing in what could be the bedroom of any small town couple of the day.  But Harrelson may get the most satisfying scene, as he responds to being cornered by a group of Barrow supporters while in a public restroom.

The film is fueled by a compelling musical score by Thomas Newman (Spectre, Skyfall, Road to Perdition, The Shawshank Redemption, Fried Green Tomatoes, The Man With One Red Shoe), the kind of a soundtrack that will no doubt stand well as its own creative work.  His score sets the tempo of the picture while not overtaking it, as happened with Ennio Morricone’s Oscar-nominated score for Costner’s The Untouchables, a similar era film that will no doubt be compared to The HighwaymenNewman’s music is entirely different, a balance of post-Civil War, Western, and Depression-era motifs with guitar that echoes the former Rangers’ cowboy, horse-riding past.  Cinematographer John Schwartzman delivers the kind of bleak, spacious, 1930s America perhaps last scene in László Kovács’ film work on Peter Bogdanovich’s depression-era film Paper Moon.

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Our borg Best of 2018 list continues today with the Best in Print.  If you missed them, check out our review of the Best Movies of 2018 here, the Kick-Ass Heroines of 2018 here, and the Best in Television 2018 here.

So let’s get going.  Here are our selections for this year’s Best in Print:

Best Read, Best Sci-fi Read – The Synapse Sequence by Daniel Godfrey (Titan Books).  The Synapse Sequence is one of those standout reads that reflects why we all flock to the latest new book in the first place.  The detective mystery, the future mind travel tech, the twists, and the successful use of multiple perspectives made this one of the most engaging sci-fi reads since Michael Crichton’s Jurassic Park.  Honorable mention: Solo: A Star Wars Story novelization by Mur Lafferty (Del Rey).

Best Retro Read – Killing Town by Mickey Spillane and Max Allan Collins (Hard Case Crime).  The lost, first Mike Hammer novel released for the 100th anniversary of Mickey Spillane’s birth was gold for noir crime fans.  This first Hammer story introduced an origin for a character that had never been released, in fact never finished, but Spillane’s late career partner on his work made a seamless read.  This was the event of the year for the genre, and a fun ride for his famous character.  Honorable mention: Help, I Am Being Held Prisoner, by Donald E. Westlake.

Best Tie-In Book – Solo: A Star Wars Story–Expanded Edition novelization by Mur Lafferty (Del Rey).  Not since Donald Glut’s novelization of The Empire Strikes Back had we encountered a Star Wars story as engaging as this one.  Lafferty took the final film version and Lawrence and Jon Kasdan’s script to weave together something fuller than the film on-screen.  Surprises and details moviegoers may have overlooked were revealed, and characters were introduced that didn’t make the final film cut.  Better yet, the writing itself was exciting.  We read more franchise tie-ins than ever before this year, and many were great reads, but this book had it all.  Honorable Mention: Big Damn Hero by James Lovegrove (Titan).

Best Genre Non-fiction – Hitchcock’s Heroines by Caroline Young (Insight Editions).  A compelling look at the director and his relationship with the leading women in his films, this new work on Hitchcock was filled with information diehard fans of Hitchcock will not have seen before.  Young incorporated behind-the-scenes images, costume sketches, and a detailed history of the circumstances behind key films of the master of suspense and his work with some of Hollywood’s finest performers.

There’s much more of our selections for 2018’s Best in Print to go…

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Review by C.J. Bunce

Author Max Allan Collins has so far completed ten novels featuring detective Mike Hammer, novels that were started by Mickey Spillane but never finished.  That tenth novel is Killing Town, and not only is it one of many from the stack of unfinished Hammer novels Spillane left behind upon his death in 2006, Collins put it aside to release this year in celebration of the 100th centenary of Spillane’s birth.  For fans of Mike Hammer, it’s an even bigger celebration, as Killing Town is Spillane’s very first Mike Hammer story, set in the character’s first days of opening his own detective agency.  Most of the world knows I, the Jury as the first work to feature private investigator Mike Hammer and the debut novel of the celebrated crime fiction writer.  But in Spillane’s later years, according to Collins, on one of his many visits to Spillane’s house, Spillane handed him a copy of Killing Town and Collins read it while sitting across from him, having no idea one day it would be he who would complete it and release it to the world.  Collins asked, “Is this what I think it is?”  Spillane nodded and smiled.

Written around 1945 and now available for the first time ever as part of Titan Books’ series of noir novels, Killing Town is as defining of noir crime pulp novels as anything you’re likely to have ever read, by Spillane or anyone else.  It has the hardboiled, put-upon, would-be shlub detective trying to get himself out of big trouble with the mob, it has a mysterious femme fatale (more than one actually), it has the smoke-filled diner (with pie), the smoke-filled bar (lots of booze), the police station stacked with crooked cops, and it takes place in a crappy little town nobody could possibly want to visit, let alone read about.  It has loads of crime, a few fist fights, a con or two, some ugly people and some pretty people, some poor people and some rich people.  And it has a murder (or two or three).  That’s really all you need to know.

Author Max Allan Collins signing copies of Killing Town at the Titan Books booth at San Diego Comic-Con last month.

A little more?  Okay.  When we first meet Mike Hammer (and as Spillane first puts Hammer’s origin story into type) he’s sneaking into the little burgh called Killington hanging underneath a train with $30,000 in his pocket and a job to carry out.  From his first steps into the town he should have known nothing was going to drop in his favor.  You might not think his position could be any worse when only a few hours after his arrival the police arrest him and charge him with the rape and murder of a local secretary of the owner of the big local mill.  But it does get worse, as Spillane drives Hammer deeper and deeper into despair to the point that the reader is going to ask:  “How can you possibly get out of this one, Mike?”

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Charlie Chan, Hercule Poirot and Miss Marple, Ellery Queen, Nero Wolfe, Philip Marlowe, Sam Spade, Perry Mason, and Sherlock Holmes.  All are classic fictional detectives that, except for Holmes, emerged in the 1920s and 1930s, pulling in countless readers across the world and together forming the roots of today’s mystery and crime genres.  You can add another detective to that list, too, the straight-arrow justice seeker Dick Tracy, although his readers would get a new dose of him every day, thanks to creator Chester Gould’s daily newspaper strips.  Over the decades Dick Tracy was featured in monthly comic book series in the 1930s to the 1960s, and again in the 1980s.  After failed efforts to bring Dick Tracy to comic books, first in a series by Mike Oeming and Brian Michael Bendis, and most recently in a series from Archie Comics featuring creators Alex Segura, Michael Moreci, and Thomas Pitilli–both cancelled for licensing snafus–finally we’re about to see Dick Tracy back in the comic books.  IDW Publishing, which just released the 24th volume of Gould’s original strips in anthology format, is launching a new four-issue limited series this Fall.

Since he first appeared in print October 14, 1931, newspaper readers have been following Tracy’s crimefighting adventures.  Chester Gould created the character and continued writing and drawing him and his foes in comic strip form until his retirement in 1977.  The strip was taken over by Max Allan Collins and Rick Fletcher and later Dick Locher and Jim Brozman, who wrote the strip until 2011, when comic book legend Joe Staton became artist with writer Mike Curtis–they would take the Harvey Award for the classic series for best syndicated comic strip three years running.

“I am thrilled to try my hand at drawing this legendary, pulpy, hardboiled crime classic,” said newly tapped Dick Tracy artist Rich Tommaso in an IDW press release.  “Along with Roy Crane, Milton Caniff, Noel Sickles, Jack Cole, and Alex Toth, Chester Gould is a cartoonist that I am perpetually inspired by when I’m working on my own crime stories.  So this is a project that I feel is well within my wheelhouse.  The Dick Tracy cast of characters makes this comic so much fun to draw on a daily basis.  I only hope we can all bring something great to the comic ourselves while, simultaneously keeping true to its origins.  Not an easy feat to be sure, but I feel it’s damn worth a try.”  Tommaso has previewed some of his penciled panels on his Twitter account (shown above and below), revealing a story set in the 1930s or 1940s.  Michael Allred will write and ink the series, called “Dead or Alive,” co-written with brother Lee Allred, with coloring by Laura Allred, Mike’s wife and frequent creative partner.

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Review by C.J. Bunce

One hundred years ago today, March 9, 1918, mystery writer Mickey Spillane was born.  To celebrate his centenary crime novelist Max Allan Collins finalized two of Spillane’s unpublished works, and they will be published later this month for the first time together in one volume as The Last Stand.  Spillane was a mentor and friend of Collins, a crime novelist in his own right, most recently known for his Quarry novels, adapted into a Cinemax TV series.  Collins put the final touches on both a “lost” 1950s classic Spillane crime story novella with an appropriately two-fisted title, A Bullet for Satisfaction, and Spillane’s final unpublished novel from 2006, The Last Stand, a contemporary adventure tale set on a Native American reservation.  Collins includes a detailed introduction to the new volume recounting Spillane’s influence on the post-World War II paperback surge, on crime novels, and on films and books being made to this day derived from his legendary investigator Mike Hammer, including James Bond, John Shaft, Dirty Harry Callahan, Billy Jack, Jack Bauer, and Jack Reacher.

Two tough men:  One like you’d expect in a Spillane crime novel, a cop who is too tough for his own good and gets thrown off the force, fighting his way back.  The other, a seasoned pilot, someone out of a Louis L’Amour novel who lands in the middle of an Indiana Jones story, complete with the search for ancient artifacts and the guts to fight the toughest guy in town.

A Bullet for Satisfaction, from Spillane’s earlier years, is exactly what you want from a crime mystery, a dreary town with corrupt politicians, mob thugs, a few damsels in distress, and plenty of knives and guns and punches.  Ed McBain, James M. Cain, Erle Stanley Gardner, Donald E. Westlake–if you’ve read any of these authors, you’ll want to delve into Spillane’s works, and Satisfaction is a good start.

The Last Stand couldn’t be more different than Satisfaction.  It begins with an airplane crash and a pilot of vintage planes named Joe Gillian, marooned in the desert with a few candy bars and some cans of beer.  A set-in-his-ways ex-military pilot, he finds himself rescued in the desert and soon becomes blood-brother with Sequoia Pete, who takes him to his reservation.  As a treasure hunt ensues with global implications, a local thug jealous of Joe marks him for death.  Joe doesn’t seem to be in a big hurry to get out of town as the FBI drop in, seemingly to keep the peace, but a lot more is going on out in this tiny desert village.  The Last Stand is heavy on banter between Pete and Joe–the relationship is very close to the sheriff and the Native American deputy in Hell or High Water, but “White-Eyes” Joe is not remotely as bigoted and unlikeable as Jeff Bridge’s sheriff in that movie.

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