In some midcentury novels, Agatha Christie tries totally new things (“Death Comes as the End” is set in ancient times; “The Hollow” puts complex characters
“Mrs. McGinty’s Dead” (1952, also published as “Blood Will Tell”) ranks as one of Agatha Christie’s most complex mysteries. In the country village of Broadhinny
I’m an atheist guided by facts and a solid moral upbringing rather than faith, but one thing about religion makes me jealous: the beautiful traditions.
Settling in for a comfortingly familiar Agatha Christie novel, I was surprised to find that “Death Comes as the End” (1944) is something quite different.
Douglas Preston and Lincoln Child’s “Bloodless” (August, hardcover) explores their love and fascination with Savannah, a town architecturally trapped in time. But too many words
“N or M?” (1941) is one of the best time capsules of Agatha Christie’s career. She writes about Tommy and Tuppence’s counter-espionage activities in World
After making “Match Point” (2005), one of his elite dramas, Woody Allen stuck around London for another year to make “Scoop” (2006), again with Scarlett
In “The Hollow” (1946, also known as “Murder After Hours”), Agatha Christie achieves what she couldn’t quite pull off in “Sparkling Cyanide” one year earlier.
“Grave Descend” (1970), the seventh of Michael Crichton’s eight John Lange novels, is a tricky one to rate. I read it in two sittings, partly
Just when I think TV is safe for happy shows again, “American Rust” (Sundays, Showtime) comes along and pulls me back into the grim and