Written by Joel Rose & Amos Poe
Art by Tayyar Ozkan
SUMMARY:
Published as the 94-page black-and-white conclusion of the La Pacifica trilogy, it was released by Paradox Press (a DC Comics imprint) in 1995.
Arriving in New York City, motel owner Don Cooper’s persistence pays off, as he finally locates the elusive Holly Stone as a Bloomingdale’s salesgirl. He wants answers from this ex-girlfriend of the deranged culprit who recently slaughtered seventeen guests at Cooper’s idyllic La Pacifica motel in California. Despite suspecting her true nature, Cooper’s libido succumbs to a steamy affair with Holly.
Confronting Holly with her shadowy past, Cooper’s worst fears are realized once she tries to manipulate him into killing her alleged stalker. He barely evades her demented knack for corrupting ordinary guys into potential killers trying to ‘protect’ her. When he and girlfriend Libby learn that Holly/Molly is ominously coming to see him, it appears their bloodthirsty game isn’t over just yet.
REVIEW:
It’s contemporary noir, complete with hardcore profanity-laced dialogue. Though this suspense thriller resembles a movie, Sucker’s End is still a R-Rated cliché-fest. Between the seemingly well-intentioned protagonist whose obsession is betrayed by his own impulses and a sultry, identity-shifting mystery girl, one will readily smell the inevitable swerve coming.
The rugged Don Cooper represents the kind of roles that Al Pacino, Tom Berenger, and Michael Douglas have personified on-screen for years. As for the manipulative Holly/Molly, she relies on the same sleazy playbook previously utilized by femme fatales personified by actresses like Kathleen Turner, Linda Fiorentino, Sharon Stone, and Ellen Barkin. Still, if contemporary casting means anything, Thomas Jane would make an ideal Cooper, and Jennifer Lawrence could readily pass for Holly/Molly.
Yet, the real non-surprise is how the only likable character (Cooper’s girlfriend, Libby), has far too little to do, even in the finale. It’s the book’s biggest detriment — neither of the two leads endear themselves to readers, thus making their ultimate fates all the more meaningless. It’s unfortunate, as the narrative of Sucker’s End is occasionally intriguing.
The choice of gritty black-and-white visuals makes perfect sense, but this book’s mediocre artwork leaves readers with close to a zero impression. Despite its basic potboiler elements, the Cooper vs. Holly/Molly feud falls far short of contributing anything new to this genre.
ADDITIONAL CONTENT:
The front inside cover summarizes the first two volumes of the La Pacifica storyline.
BRIAN’S ODD MOON RATING: 3 Stars
