I wouldn't normally have picked up a book like Temple on my own, but it was recommended to me by a student and he even lent me his own copy of the book. The result? I am considering pressing charges against the student for submitting me to cruel and unusual punishment. Let me point out that I am not beyond dumb thrillers. If it is handled well enough, I can't get enough of them. But I do have a problem with thrillers that make me laugh (not intentionally), then wince, then groan, and then finally lock inside a room with a nuclear weapon and detonate it (which, basically, happens in the book, and which, amusingly enough, the protagonist survives).
Where do I start? Some of the first things that set me off was the back story of a Spanish priest in the Inca kingdom at the time of conquest. Usually I would be quite open to such a tale since I am an amateur historian of this era, yet when the Reilly shows the story of the priest being written in the exact same, annoying style that he writes the rest of the novel, you begin to wonder why he even put on the pretext that this was an ancient document. Either that or we are to believe that Reilly is a descendant of Spanish priests and that the bad writing is simply hereditary.
Then, as if this ridiculous back story weren't enough, all of the sudden we have these mythic gigantic panthers enter the story. It was almost as if he thought ... well, I've stretched my credibility quite a bit already, but how can I really blow it off the charts? Then we have double climaxes, both of them involving a nuclear weapon capable of blowing up the world (which, frankly, is hard to explain, credibly, why any country in the world would legitimately want to make), and both of them involving ridiculous escapes by our wannabe Indiana-Jones-esque protagonist (complete with old hat that survives all of the improbable escapes, cleverly disguised as a Yankees cap instead of a fedora, of course).
Some of my favorite (laugh out loud) moments, were when Reilly felt like he had to accentuate his action scenes by throwing in an exclamation point at the end of the sentence, as if saying, well, if the image I'm describing isn't getting you thrilled enough, then I'll just force you into it with a shocking exclamation point thrown in at the end. An example would be something like this. Race saw a giant panther come out of the mist! (I am paraphrasing the ridiculousness by the way, but please do not think that it in any way diminishes how ridiculous it is.) At times the exclamation point isn't enough and he feels justified in italicizing the sentence as well.
Now I understand that picking apart any thriller is an easy thing to do, since most of them are based on pretty shady premises to start out with, so let me try to address this diplomatically. I think that Reilly tried to pack waaaay too much into one novel. One of the aspects would have been enough: world-destroying weapon, giant panthers, ancient Inca treasure, modern day Nazis, Armed Forces conspiracy, to name a few. All of these together make for a fascinating train wreck, but a terrible novel all the same. The other suggestion would be for Reilly to stick to his field of expertise. It seems to me that he seems pretty well versed in military equipment and forces. But his knowledge of history is laughable and embarrassing. Besides the non-ancient style of the priest's writing, there are the Incas riding horses as if they are Plains Indians, yet they've never known horses until Pizarro brought them to Cuzco.
Sigh. I must stop myself before I wear out my fingers. However, let me say, to Reilly's credit, that I did enjoy one action scene that he showed on a river. It was, of course, unbelievable, but in the fun way that thrillers are supposed to be. Why did it work? I can't say exactly, but I suspect that it has something to do with the lack of world-destroying weapons, giant panthers, ancient Inca treasures ... well, I think you got the idea. So, here is my final recommendation: the next time you see Matthew Reilly's Temple, run away screaming! (Please imagine that last sentence in an intense italics.)