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Thrillers: 4 Novels: The Getaway / The Killer Inside Me / The Grifters / Pop. 1280
Lou Ford is the deputy sheriff of a small town in Texas. The worst thing most people can say against him is that he's a little slow and a little boring. But, then, most people don't know about the sickness--the sickness that almost got Lou put away when he was younger. The sickness that is about to surface again.
An underground classic since its publication in 1952, The Killer Inside Me is the book that made Jim Thompson's name synonymous with the roman noir.
From the Trade Paperback edition.
An underground classic since its publication in 1952, The Killer Inside Me is the book that made Jim Thompson's name synonymous with the roman noir.
From the Trade Paperback edition.
512 pages, Paperback
First published June 17, 1983
About the author
Jim Thompson
153 books1,671 followersLibrarian Note: There is more than one author in the GoodReads database with this name. See this thread for more information.
James Myers Thompson was a United States writer of novels, short stories and screenplays, largely in the hardboiled style of crime fiction.
Thompson wrote more than thirty novels, the majority of which were original paperback publications by pulp fiction houses, from the late-1940s through mid-1950s. Despite some positive critical notice, notably by Anthony Boucher in the New York Times, he was little-recognized in his lifetime. Only after death did Thompson's literary stature grow, when in the late 1980s, several novels were re-published in the Black Lizard series of re-discovered crime fiction.
Thompson's writing culminated in a few of his best-regarded works: The Killer Inside Me, Savage Night, A Hell of a Woman and Pop. 1280. In these works, Thompson turned the derided pulp genre into literature and art, featuring unreliable narrators, odd structure, and surrealism.
The writer R.V. Cassills has suggested that of all pulp fiction, Thompson's was the rawest and most harrowing; that neither Dashiell Hammett nor Raymond Chandler nor even Horace McCoy, author of the bleak They Shoot Horses, Don't They?, ever "wrote a book within miles of Thompson". Similarly, in the introduction to Now and on Earth, Stephen King says he most admires Thompson's work because "The guy was over the top. The guy was absolutely over the top. Big Jim didn't know the meaning of the word stop. There are three brave lets inherent in the forgoing: he let himself see everything, he let himself write it down, then he let himself publish it."
Thompson admired Fyodor Dostoevsky and was nicknamed "Dimestore Dostoevsky" by writer Geoffrey O'Brien. Film director Stephen Frears, who directed an adaptation of Thompson's The Grifters as 1990's The Grifters, also identified elements of Greek tragedy in his themes.
James Myers Thompson was a United States writer of novels, short stories and screenplays, largely in the hardboiled style of crime fiction.
Thompson wrote more than thirty novels, the majority of which were original paperback publications by pulp fiction houses, from the late-1940s through mid-1950s. Despite some positive critical notice, notably by Anthony Boucher in the New York Times, he was little-recognized in his lifetime. Only after death did Thompson's literary stature grow, when in the late 1980s, several novels were re-published in the Black Lizard series of re-discovered crime fiction.
Thompson's writing culminated in a few of his best-regarded works: The Killer Inside Me, Savage Night, A Hell of a Woman and Pop. 1280. In these works, Thompson turned the derided pulp genre into literature and art, featuring unreliable narrators, odd structure, and surrealism.
The writer R.V. Cassills has suggested that of all pulp fiction, Thompson's was the rawest and most harrowing; that neither Dashiell Hammett nor Raymond Chandler nor even Horace McCoy, author of the bleak They Shoot Horses, Don't They?, ever "wrote a book within miles of Thompson". Similarly, in the introduction to Now and on Earth, Stephen King says he most admires Thompson's work because "The guy was over the top. The guy was absolutely over the top. Big Jim didn't know the meaning of the word stop. There are three brave lets inherent in the forgoing: he let himself see everything, he let himself write it down, then he let himself publish it."
Thompson admired Fyodor Dostoevsky and was nicknamed "Dimestore Dostoevsky" by writer Geoffrey O'Brien. Film director Stephen Frears, who directed an adaptation of Thompson's The Grifters as 1990's The Grifters, also identified elements of Greek tragedy in his themes.
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Displaying 1 - 7 of 7 reviews
May 30, 2012
I've been on a pulp jag lately - Thompson and Goodis neck in neck - and it's put the ol' 'dimestore Dostoevsky' in a new light. Rarely has my opinion been so changed by a re-reading. It would have been the late-90s when I first read these 4 novels, in the same Picador omnibus edition, at the urging of a Thompson enthusiast at a bookshop where I worked in Melbourne. 'Pretty good,' is all I recall thinking - not much of a (conscious) impression, but enough for me to track down some of his lesser-known novels later: Savage Night, Hell of a Woman, A Swell-Looking Babe. And ironically, it's these lesser-known works that have most informed my impression of Jim Thompson. Chaotic, raw, improvised, probably written by a drunk - I'm not dissing them; I liked those qualities. But now that I return to the more popular titles, I find that Thompson the enraged bull is in fact only one of his personas; here he is a consummate professional. 'Dimestore Dostoevsky'? In Hell of a Woman, hell yeah: the sense of dread, the metaphysical cloud overhead, the fevered plotting full of stops and starts and sudden inspirations. But here? The guy has control - something Dostoevsky never had, not for entire books anyway (rarely for entire chapters). And if I sound kind of disappointed - at the same time as impressed - I guess I am. I mean, these are all brilliant - great, great thrillers, tightly-plotted, smooth as silk, vivid characters - but, y'know, that Dostoevskian dread is something else. What actually happens in Hell of a Woman? A guy sits in a room obsessing on a woman. Who's the guy? His face is hidden. And the woman? Duplicitous, a symbol. As to the room, it could be anywhere. Or was that A Swell-Looking Babe?I don't use the word 'existential' very often, but I think here it applies, and I suspect this quality is one of the key things I'm looking for in the works of Thompson, Goodis, Chandler (not sure about Himes). It's that moment when the ironic distance is gone, when things like plot and 'whodunnit' cease to matter, when we're just in a character's head looking out - or who knows, maybe in the author's head? Having said that, I loved all 4 of these mini-masterpieces. Each one of them was so sharply-etched as to remain like a colourful cartoon in my mind's eye after I'd finished it. My only criticism is that maybe Thompson was too good - his stories were so tight it left him little room to move. Which is why I'll be dipping into his lesser-known stuff again in the future.
The Getaway
About as readable and perfect a suspense plot as you can imagine without sacrificing the otherworldly darkness of his other novels. Seriously, some of this is so tense it makes you squirm: the scene where Carol is alone in the train station, or when she's virtually buried alive in a coffin-sized cave only reachable via an apparently bottomless waterhole. And the ending is pitch-dark - astonishing. But all of it smooth as silk thanks to Thompson's discipline and his protagonist Doc McCoy's patina of charm. Brilliantly, he makes us root for this sociopath even as we despise his enemy Rudy, who may not be that different to McCoy except in his ugliness and lack of charm. Don't get me wrong, I've always loved Jim Thompson, but after being told that The Killer Inside Me and Pop 1280 were his best works I guess I thought it was all downhill from there. The Getaway not only proves me wrong but inspires me to go back and reread those other works.
Pop 1280
Hmm. After all the hoo-ha I actually expected to like this more than I did. I mean, y'know, it's great. Funny. The satirical view of politics (in this case small-town politics) is sharp and on the money:
The crooked-sheriff narrator is well-drawn and often hilarious, and the shape of the story is classic, an archetype stretching back to Gogol ('Diary of a Madman') and maybe further: the first-person descent into madness. Only, well, it's a hard thing to do. And I don't know that Thompson quite gets it right here. As a thriller, the thing is seamless - or close to it. A couple of lapses of pace here and there (a frustrating sub-plot with the love-interest trying to make him confess, to not much avail as I recall), but a satisfying (and deliciously seedy) pay-off and some nice twists along the way. Also, the voice is sustained near-perfectly - voice (usually via dialogue) being one of Thompson's strongest talents. But to push that voice over the edge? It's an admirable goal, but ultimately beyond the scope of this narrative. To suggest the psychic cliff-face looming just beyond the final page would probably have been the only way to go, but Thompson plays his hand and I have to count it a failure. After all, Gogol's madman was loopy from the get-go - yeah, he got loopier, but not suddenly and not on the last page. And even Poe - an ironically-distanced first-person virtuoso - typically had his narrators look back on the time before their insanity, and re-live its traumatic causes. Here, Sheriff Lou Ford looks back (if his use of the simple past tense is anything to go by), but offers no hints of the psychic trauma he has been through - which maybe is the crux of the problem. Look at Poe's 'Tell-Tale Heart': because the narrator is mad - has been turned mad by the events he relates - he must describe these events with a touch of madness. Not to do so is to not be realistic - but paradoxically so, because the tools of 'realism' are not sufficient. Thompson, in contrast, uses only the tools of realism. A realism deeply-coloured by its narrator's personality, yes, and suggestive of contradictions and hidden depths in that personality, but not in any way cognisant of the earthquake of identity that this narrator has supposedly survived in order to tell his story. As I say, the story-shape is classic, and all the necessary material is here if Thompson were to have gone back for another pass over it; maybe he could have made it work.
The Grifters
Wow, this was tight! I mean, not much happens - it's more a study of 3 fairly unwholesome characters than anything - but then in the last few chapters it all comes together and it packs a wollop. The ending's great! Black as pitch. Pitch-perfect. The dialogue! The snatches of internal monologue, too. Thompson is most famous for his first-person narrations - maybe because these (at least in the extreme, caricatured form of Pop 1280 and The Killer Inside Me) were unusual in the crime genre - but really it's in these third-person narratives that he sings. Yeah, he's phenomenal at voice - the dialogue is spot-on, far beyond most novelists - but part of this talent is simple mimicry, almost always heavy with irony, and maybe best taken in small doses between measured drafts of the graceful, transparent declarative prose that Thompson also does so well (if occasionally just a touch too self-consciously). The first-person narratives I find claustrophobic - partly because Thompson is so good at voice. That is, by tightly transcribing the character of his narrators he gives us too small a space to inhabit. It's as if we can see Thompson the puppet-master overhead, and we want to be up there with him, not down here with the wooden heads on the stage. But in The Grifters and especially The Getaway we're out in the open, and Thompson's using all his talents simultaneously to keep things moving. I liked this one. Psychologically it had some depth to it. I love the device of the 2 older women. Chandler used that 2-woman device repeatedly, but never so convincingly. Here, Thompson fleshes it out, and it's deep - it's disturbing.
The Killer Inside Me...
First half brilliant, second half fell apart. Reminded me of some more-recent 'literary' first-person murderer stories: The Wasp Factory, The Butcher Boy, American Psycho. But this is better than Psycho; it's got subtlety! It all but renders Psycho irrelevant. It's interesting to consider that Killer... has never been marketed as some 'literary' satire, yet it's got just as much depth and bite as Easton Ellis. Does this suggest we live in more pretentious times, or just that writing like this was automatically relegated to the fringes in Thompson's day? In any case, it was great. Close to great. Missed it by a hair. Thompson, he's just about a genius, but he can't help himself. Here, it's the annoying/useless habit of directly addressing a second-person every few chapters, but never with any hint as to how or why this could/should be. Also the ending is hazy, and the trick of the narrator being some kind of secret intellectual with vast general knowledge masquerading as a dunce/everyman doesn't quite work, intriguing as it is. But for a while there – whoo-ee! - it's a ride. I read 100 pages in one sitting and didn't wanna put it down, and laughed out loud several times at Thompson's dark, dark wit. A flawed classic.
Overall, I'm a fan.
The Getaway
About as readable and perfect a suspense plot as you can imagine without sacrificing the otherworldly darkness of his other novels. Seriously, some of this is so tense it makes you squirm: the scene where Carol is alone in the train station, or when she's virtually buried alive in a coffin-sized cave only reachable via an apparently bottomless waterhole. And the ending is pitch-dark - astonishing. But all of it smooth as silk thanks to Thompson's discipline and his protagonist Doc McCoy's patina of charm. Brilliantly, he makes us root for this sociopath even as we despise his enemy Rudy, who may not be that different to McCoy except in his ugliness and lack of charm. Don't get me wrong, I've always loved Jim Thompson, but after being told that The Killer Inside Me and Pop 1280 were his best works I guess I thought it was all downhill from there. The Getaway not only proves me wrong but inspires me to go back and reread those other works.
Pop 1280
Hmm. After all the hoo-ha I actually expected to like this more than I did. I mean, y'know, it's great. Funny. The satirical view of politics (in this case small-town politics) is sharp and on the money:
'Yes, sir,' I said, 'I'm really going to start cracking down. Anyone that breaks a law from now on is goin' to have to deal with me. Providing, o' course, that he's either colored or some poor white trash that can't pay his poll tax.'
The crooked-sheriff narrator is well-drawn and often hilarious, and the shape of the story is classic, an archetype stretching back to Gogol ('Diary of a Madman') and maybe further: the first-person descent into madness. Only, well, it's a hard thing to do. And I don't know that Thompson quite gets it right here. As a thriller, the thing is seamless - or close to it. A couple of lapses of pace here and there (a frustrating sub-plot with the love-interest trying to make him confess, to not much avail as I recall), but a satisfying (and deliciously seedy) pay-off and some nice twists along the way. Also, the voice is sustained near-perfectly - voice (usually via dialogue) being one of Thompson's strongest talents. But to push that voice over the edge? It's an admirable goal, but ultimately beyond the scope of this narrative. To suggest the psychic cliff-face looming just beyond the final page would probably have been the only way to go, but Thompson plays his hand and I have to count it a failure. After all, Gogol's madman was loopy from the get-go - yeah, he got loopier, but not suddenly and not on the last page. And even Poe - an ironically-distanced first-person virtuoso - typically had his narrators look back on the time before their insanity, and re-live its traumatic causes. Here, Sheriff Lou Ford looks back (if his use of the simple past tense is anything to go by), but offers no hints of the psychic trauma he has been through - which maybe is the crux of the problem. Look at Poe's 'Tell-Tale Heart': because the narrator is mad - has been turned mad by the events he relates - he must describe these events with a touch of madness. Not to do so is to not be realistic - but paradoxically so, because the tools of 'realism' are not sufficient. Thompson, in contrast, uses only the tools of realism. A realism deeply-coloured by its narrator's personality, yes, and suggestive of contradictions and hidden depths in that personality, but not in any way cognisant of the earthquake of identity that this narrator has supposedly survived in order to tell his story. As I say, the story-shape is classic, and all the necessary material is here if Thompson were to have gone back for another pass over it; maybe he could have made it work.
The Grifters
Wow, this was tight! I mean, not much happens - it's more a study of 3 fairly unwholesome characters than anything - but then in the last few chapters it all comes together and it packs a wollop. The ending's great! Black as pitch. Pitch-perfect. The dialogue! The snatches of internal monologue, too. Thompson is most famous for his first-person narrations - maybe because these (at least in the extreme, caricatured form of Pop 1280 and The Killer Inside Me) were unusual in the crime genre - but really it's in these third-person narratives that he sings. Yeah, he's phenomenal at voice - the dialogue is spot-on, far beyond most novelists - but part of this talent is simple mimicry, almost always heavy with irony, and maybe best taken in small doses between measured drafts of the graceful, transparent declarative prose that Thompson also does so well (if occasionally just a touch too self-consciously). The first-person narratives I find claustrophobic - partly because Thompson is so good at voice. That is, by tightly transcribing the character of his narrators he gives us too small a space to inhabit. It's as if we can see Thompson the puppet-master overhead, and we want to be up there with him, not down here with the wooden heads on the stage. But in The Grifters and especially The Getaway we're out in the open, and Thompson's using all his talents simultaneously to keep things moving. I liked this one. Psychologically it had some depth to it. I love the device of the 2 older women. Chandler used that 2-woman device repeatedly, but never so convincingly. Here, Thompson fleshes it out, and it's deep - it's disturbing.
The Killer Inside Me...
First half brilliant, second half fell apart. Reminded me of some more-recent 'literary' first-person murderer stories: The Wasp Factory, The Butcher Boy, American Psycho. But this is better than Psycho; it's got subtlety! It all but renders Psycho irrelevant. It's interesting to consider that Killer... has never been marketed as some 'literary' satire, yet it's got just as much depth and bite as Easton Ellis. Does this suggest we live in more pretentious times, or just that writing like this was automatically relegated to the fringes in Thompson's day? In any case, it was great. Close to great. Missed it by a hair. Thompson, he's just about a genius, but he can't help himself. Here, it's the annoying/useless habit of directly addressing a second-person every few chapters, but never with any hint as to how or why this could/should be. Also the ending is hazy, and the trick of the narrator being some kind of secret intellectual with vast general knowledge masquerading as a dunce/everyman doesn't quite work, intriguing as it is. But for a while there – whoo-ee! - it's a ride. I read 100 pages in one sitting and didn't wanna put it down, and laughed out loud several times at Thompson's dark, dark wit. A flawed classic.
Overall, I'm a fan.
June 11, 2021
The library in the part of London I spent my teens in got several of this series in in the late 80s.
So I read this and a few other pulp novels that would appear in the 50s as film noirs.
I enjoy Thompson a lot. He's really good at writing compelling unreliable narrators that you gradually realise are way more messed up than you maybe started off thinking as other members of the cast die off in large numbers .
Great stuff and i like these omnibus editions for reading him in .
The Getaway is a lot darker than both of the film versions really gets down and dirty and the fate of the main protagonist really does see him in the shit.
The Grifters is great with Angelica Huston as the mother of a semi successful con man that he may have learnt everything from. Very dysfunctional family.
So I read this and a few other pulp novels that would appear in the 50s as film noirs.
I enjoy Thompson a lot. He's really good at writing compelling unreliable narrators that you gradually realise are way more messed up than you maybe started off thinking as other members of the cast die off in large numbers .
Great stuff and i like these omnibus editions for reading him in .
The Getaway is a lot darker than both of the film versions really gets down and dirty and the fate of the main protagonist really does see him in the shit.
The Grifters is great with Angelica Huston as the mother of a semi successful con man that he may have learnt everything from. Very dysfunctional family.
October 9, 2023
Every single one of these novels is a masterpiece. Page-turners, every one of them. Its no wonder this is Steven King's favorite writer. Or why he wrote two movies for Stanley Kubrick. Thompson is a strong contender for my own favorite author as well. I will just have to read the rest of his novels to find out. So far I have read 17, without being disappointed even once. That leaves 13 more novels to go...
April 15, 2025
The Getaway (30/10/2024)
Excellent and immensely readable prose. Everyone in this world is corrupt or easily corrupted despite their standing. Nothing is sacred, and Thompson creates a picture where institutions (the police, marriage) are ruled by violence and venality above all else. Yet characters are also shown to be vulnerable and able to suffer. Carol getting stuck in her underwater tomb is the most gut-wrenching and chilling passage I’ve ever read. Finally, the third act of this story feels more like the writing of a myth or a parable than a crime story. Incredible and original writing that sets Thompson apart from all others. My question is, was he writing to entertain, tell us something about American prosperity post-World War II, or both?
The Killer Inside Me (02/01/2025)
I probably enjoyed the first half, or even three-quarters, more than the ending. The last act dragged, and while I don’t usually expect much from an ending, this one fell a bit flat for me. It reminded me of how I felt about the ending of Selby’s The Demon. That said, I appreciated the strong contrast between Lou’s even keel and steady nature and his interpretations of what’s happening around him. In this way, I feel like the book invites us to reflect on our own intuition, outward view, and our ability to take responsibility for the events in our lives. Is Lou Ford scary because of psychopathy or because he reminds us of ourselves?
The Grifters (06/03/2025)
I really felt that this started out in an entertaining but overly familiar way. It felt like we’ve already been here. Thompson forces his narrative in new and interesting directions though, and that criticism was only short-lived. This went from my least interesting to my favourite book so far.
I almost think you need to have met Doc McCoy, Carol, and Lou Ford to better appreciate Lilly and Roy Dillon. Roy and Lilly feel more earthbound and vulnerable in their world. Bobo Justus, Perk Kraggs, and even Mr Chadwick seem more powerful than both of them. It's as if they're precariously positioned in this world despite their talents for the grift.
A couple of side notes: (a) Roy, looking at going straight, his talent for being a leader in the straight world, made me again think of Selby's book The Demon. It feels familiar in that regard and (b) It's also hard for me to qualify, but there were times where I felt Thompson was very much speaking through Lilly. That is only an intuition. Overall, it's a fascinating story and my favourite of the three so far.
Pop. 1280 (13/04/2025)
The handling of racial issues was particularly interesting. The passage with lightning and thunder, where Thompson describes Uncle John’s expression, was some of his most cinematic and heartbreaking writing. This is the portion of the book that has lingered with me the most.
Perhaps surprisingly, I laughed out loud many times while reading this book as well.
I would highly recommend Pop. 1280; it's impossible not to. However, it did confirm some of my criticisms. Lennie could have been an interesting character, but he didn't quite land. He needed to be shown as more vulnerable. I'm unresolved on what Thompson is doing with sex in this book and how he draws female characters in relation to it. The Myra/Lennie inferences were quite frankly ludicrous and maybe a low point in the story.
Amy was the most interesting character as a potential “straight” persona in the story, but her storyline never seemed to come together or make sense. How is someone so self-assured and sensible tied up with Nick Corey?
Lastly, the ending. I love Jim Thompson; he is the best. But this ending felt like he was really shooting for something but missed. Endings are not his strength in my view.
Overall, an excellent book—very confronting and immensely readable. Sad it was all over.
Excellent and immensely readable prose. Everyone in this world is corrupt or easily corrupted despite their standing. Nothing is sacred, and Thompson creates a picture where institutions (the police, marriage) are ruled by violence and venality above all else. Yet characters are also shown to be vulnerable and able to suffer. Carol getting stuck in her underwater tomb is the most gut-wrenching and chilling passage I’ve ever read. Finally, the third act of this story feels more like the writing of a myth or a parable than a crime story. Incredible and original writing that sets Thompson apart from all others. My question is, was he writing to entertain, tell us something about American prosperity post-World War II, or both?
The Killer Inside Me (02/01/2025)
I probably enjoyed the first half, or even three-quarters, more than the ending. The last act dragged, and while I don’t usually expect much from an ending, this one fell a bit flat for me. It reminded me of how I felt about the ending of Selby’s The Demon. That said, I appreciated the strong contrast between Lou’s even keel and steady nature and his interpretations of what’s happening around him. In this way, I feel like the book invites us to reflect on our own intuition, outward view, and our ability to take responsibility for the events in our lives. Is Lou Ford scary because of psychopathy or because he reminds us of ourselves?
The Grifters (06/03/2025)
I really felt that this started out in an entertaining but overly familiar way. It felt like we’ve already been here. Thompson forces his narrative in new and interesting directions though, and that criticism was only short-lived. This went from my least interesting to my favourite book so far.
I almost think you need to have met Doc McCoy, Carol, and Lou Ford to better appreciate Lilly and Roy Dillon. Roy and Lilly feel more earthbound and vulnerable in their world. Bobo Justus, Perk Kraggs, and even Mr Chadwick seem more powerful than both of them. It's as if they're precariously positioned in this world despite their talents for the grift.
A couple of side notes: (a) Roy, looking at going straight, his talent for being a leader in the straight world, made me again think of Selby's book The Demon. It feels familiar in that regard and (b) It's also hard for me to qualify, but there were times where I felt Thompson was very much speaking through Lilly. That is only an intuition. Overall, it's a fascinating story and my favourite of the three so far.
Pop. 1280 (13/04/2025)
The handling of racial issues was particularly interesting. The passage with lightning and thunder, where Thompson describes Uncle John’s expression, was some of his most cinematic and heartbreaking writing. This is the portion of the book that has lingered with me the most.
Perhaps surprisingly, I laughed out loud many times while reading this book as well.
I would highly recommend Pop. 1280; it's impossible not to. However, it did confirm some of my criticisms. Lennie could have been an interesting character, but he didn't quite land. He needed to be shown as more vulnerable. I'm unresolved on what Thompson is doing with sex in this book and how he draws female characters in relation to it. The Myra/Lennie inferences were quite frankly ludicrous and maybe a low point in the story.
Amy was the most interesting character as a potential “straight” persona in the story, but her storyline never seemed to come together or make sense. How is someone so self-assured and sensible tied up with Nick Corey?
Lastly, the ending. I love Jim Thompson; he is the best. But this ending felt like he was really shooting for something but missed. Endings are not his strength in my view.
Overall, an excellent book—very confronting and immensely readable. Sad it was all over.
September 23, 2010
Great collection of psychological thrillers. If you like the Dexter or Mr. Monster books, this collection is a must read. Dastardly criminals on every page, a sociopathic protagonist in every novella.
The Getaway was my favorite read of the collection, followed by The Killer Inside Me. Both were 5 star reads.
The Getaway was my favorite read of the collection, followed by The Killer Inside Me. Both were 5 star reads.
June 17, 2017
All 4 of these novels are a down-and-dirty, honest portrayal of the malevolence we suppress in ourselves. These are crime stories at their best.
June 10, 2016
Really enjoyed it. Grades: The Getaway 4/5, The Killer Inside Me 4/5, The Grifters 3/5, Pop. 1280 5/5
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