We cover Movies, TV, Books, Comics, Conventions and Anything Else that tickles our fancy! We lean towards horror and supernatural.
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Sunday, January 26, 2020
"The Turning" Review
You've probably heard about the terrible critical and audience scores for "The Turning" by now. If not, allow me to fill you in. The film is originally based on The Turn of the Screw by Henry James but the allure and mystery of the popular horror story gets lost in translation by way of a mishandled edit and in all likelihood some corporate meddling.
Mackenzie Davis plays Kate Mandell, a woman hired to be a governess for a wealthy family. Originally she takes the job with the expectation that she'll be looking after Flora, the young daughter, but upon arriving at the manor finds that Flora's older brother Miles has returned home from boarding school after being expelled for violently attacking another student.
Over the course of the film Kate begins to encounter the ghosts of Flora's previous governess Miss Jessel, and the former groundskeeper Quint that had been tormenting and eventually killed Jessel. When first watching the film the story seems to play with the idea that the other characters Kate interacts with could also be ghosts, particularly Flora since she is said to never leave the estate and becomes hysterical when Kate tries to bring her through the front gates to run an errand in town.
The ending insinuates that the audience was supposed to be wondering whether or not Kate was encountering ghosts or simply imagining them as the result of inheriting a mental illness like what her mother has. There is not enough presented in the film to put the focus on this mystery. When Kate escapes with the children, the story jumps back to a point of her midway through the story when she is receiving a care package of blackened drawings from her mother. It's never clearly established whether this time jump is the result of Kate having some sort of psychic vision, if she is now a ghost stuck in some sort of supernatural time loop, or any other sort of explanation that would leave the audience with a sense of understanding of the story's conclusion. Even more baffling is the jump to a shot of Kate's eye that was shown previously in the film as an at-the-time unknown spectator of Kate being tormented by the ghost of Miss Jessel. There's one last jump to Kate being at the psychiatric facility and being frightened by a vision of her mother, or at least, we think that's who she was encountering since we never got to see her mother's face in the final stinger.
The film is a failure in every attempt at building a mystery to follow through on. The final sequence of footage (roughly the last minute of the film, sans credits), all reads like footage that was originally intended for other purposes but got thrown together for a baffling and clumsy ending to a dull, un-frightening horror film.
UNDISCOVERED COUNTRY #3 FLIES OFF SHELVES AT BREAKNECK SPEED AS REORDERS SKYROCKET
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UNWAVERING DEMAND FOR UNDISCOVERED COUNTRY RUNS RAMPANT COUNTRYWIDE, RETAILERS REORDERING THE DEBUT ISSUE AT UNBEATABLE SPEED
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IRE POWER #1 & #2 WILL HIT STORES IN JUNE—FOLLOWING THE FCBD EDITION IN MAY
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Ray Fawkes & Jeremy Haun Present THE FINAL WITNESS, A Crime-Noir Mystery
Promo art by Rahzzah
A terrifying serial killer wreaks havoc in THE FINAL WITNESS #1 (of 5) this April!
Eisner-nominated writer RAY FAWKES (Batman Eternal) and electrifying artist JEREMY HAUN (Batwoman) present a captivating crime-noir mystery! Can a powerful new hero, a detective, and an investigative journalist solve this chilling case as more and more bodies are found in San Francisco?
Here's a first look at the brand-new hero's origin!
Eisner-nominated writer RAY FAWKES (Batman Eternal) and electrifying artist JEREMY HAUN (Batwoman) present a captivating crime-noir mystery! Can a powerful new hero, a detective, and an investigative journalist solve this chilling case as more and more bodies are found in San Francisco?
Here's a first look at the brand-new hero's origin!
"I'm thrilled to bring a crime-thriller twist to the Valiant superhero universe, and I'm excited to see the fans react to this book," said Ray. "It's a real ride, with a lot of twists and turns and some good, horrifying crime thrown into the mix."
The critically-acclaimed writer added that fans of his work are in for a real treat. "People who read my work know I love the darker side of things, and this book is one where I truly get to cut loose. I'm really looking forward to watching fans try to unravel the mystery!"
The critically-acclaimed writer added that fans of his work are in for a real treat. "People who read my work know I love the darker side of things, and this book is one where I truly get to cut loose. I'm really looking forward to watching fans try to unravel the mystery!"
"I work with Ray Fawkes and our colorist Nick Filardi every chance I get," stated Jeremy. "They're some of the best talent in the business. It's exciting to be working together on this story for Valiant."
"THE FINAL WITNESS is all about putting a twist on what it means to be a superhero -- what it means to be Valiant, even," teased editor HEATHER ANTOS. "Each issue we have new twists and reveals as we further reveal the mystery that I can guarantee readers won't see coming, and I can't wait for the journey to begin with the first clue in issue #1!"
The gripping crime-noir thriller begins in THE FINAL WITNESS #1 (of 5) on April 29th, 2020, featuring colors by Nick Filardi, letters by Clayton Cowles, and covers by Rahzzah, Michael Walsh, Caspar Wijngaard, Jeremy Haun, and Travis Escarfullery. Check out Nerdist for more information!
Valiant Comics: QUANTUM & WOODY #1 Signing Tour & Exclusive Cover
Celebrate the release of QUANTUM & WOODY #1 (of 4)with writer CHRISTOPHER HASTINGS and artist RYAN BROWNE!
The world's best comic book creator duo will be at shops to talk about the world's worst superhero duo from Wednesday, January 29th to Wednesday, February 5th. Each shop will have the Christopher Hastings exclusive variant (amazing Tango & Cash homage pictured above). See below for details.
Wednesday, January 29th
Christopher Hastings at Bulletproof Comics
Brooklyn, NY
Starts at 5:00pm
Wednesday, January 29th
Ryan Browne at Challenger Comics + Conversation
Chicago, IL
River North location starts at 4:00pm
Bucktown location starts at 6:00pm
Friday, January 31st
Christopher at Forbidden Planet
New York, NY
Starts at 6:00pm
Saturday, February 1st
Christopher at East Side Mags
Montclair, NJ
Starts at 1:00pm
Saturday, February 1st
Ryan at Kowabunga Comics
Oconomowoc, WI
Starts at 12:00pm
Wednesday, February 5th
Christopher at October Country Comics
New Paltz, NY
Starts at 4:00pm
We recommend showing up early to the signings, just to be safe. Please contact the comic shops directly for more information.
QUANTUM & WOODY #1 (of 4) is on sale January 29th. Not to brag, but critics are already calling it "a fun, fresh start for the Valiant property." Don't miss it!
The world's best comic book creator duo will be at shops to talk about the world's worst superhero duo from Wednesday, January 29th to Wednesday, February 5th. Each shop will have the Christopher Hastings exclusive variant (amazing Tango & Cash homage pictured above). See below for details.
Wednesday, January 29th
Christopher Hastings at Bulletproof Comics
Brooklyn, NY
Starts at 5:00pm
Wednesday, January 29th
Ryan Browne at Challenger Comics + Conversation
Chicago, IL
River North location starts at 4:00pm
Bucktown location starts at 6:00pm
Friday, January 31st
Christopher at Forbidden Planet
New York, NY
Starts at 6:00pm
Saturday, February 1st
Christopher at East Side Mags
Montclair, NJ
Starts at 1:00pm
Saturday, February 1st
Ryan at Kowabunga Comics
Oconomowoc, WI
Starts at 12:00pm
Wednesday, February 5th
Christopher at October Country Comics
New Paltz, NY
Starts at 4:00pm
We recommend showing up early to the signings, just to be safe. Please contact the comic shops directly for more information.
QUANTUM & WOODY #1 (of 4) is on sale January 29th. Not to brag, but critics are already calling it "a fun, fresh start for the Valiant property." Don't miss it!
Saturday, January 25, 2020
"The Last Full Measure" Review
Sebastian Stan fans may be excited to learn that a new film starring Stan, The Last Full Measure, has been released in a modest amount of theatres. They may be less excited upon actually seeing it due to how lukewarm and meandering the finished product is.
Stan portrays Scott Huffman, a Pentagon employee tasked with investigating a case for a deceased Vietnam War soldier William H. Pitsenbarger that is mysteriously being deprived of a Medal of Honor that he had been on track to receive. A conspiracy in Washington DC should prove for a tense, dramatic viewing experience but the film fails to convey the necessary urgency that such a premise requires. Films like Official Secrets or Dark Waters were far more effective in building dramatic tension and suspense as the heroes dive deep into cover-ups and corruption. A large part of why The Last Full Measure is ineffective in this area is that it tries to do too many things, and consequently stretches itself too thin.
Scott Huffman is the audience's lens into the fictional world and a hero that should be rooted for. However, the writing fails to effectively introduce him before later dumping out exposition to claim that he has undergone some sort of development and transformation. There are lines of dialogue thrown out that claim he used to be highly career-driven and lacking in the necessary empathy to follow through on his investigation if it will risk a big promotion for his own career. However, the bulk of his character introduction shows him to be a loving husband and father with a new baby on the way, and a person willing to listen to the veterans he interviews for the case and let them open up on their own terms. There's never any doubt in the story that he will give up trying to help the veterans he is speaking to.
The film also shows repeated flashbacks to the day of combat on which Pitsenbarger displayed the bravery and velour that he is meant to be rewarded for. The overall flow of jumping between an investigation into a conspiracy, monologues for the other Vietnam veterans sharing their experience of that day, and the flashbacks to a bloody day of combat is sloppy. By trying to spin all three of these plates, each one ends up crashing with a dull thud. There's also a general lack of visual style to the filmmaking that further enhances how flat the viewing experience is. The ending is fairly satisfying but things drag on considerably before we finally reach it. There is even a point where Scott Huffman abruptly starts crying that doesn't fit into the final cut. It's all very middle-of-the-road when the story should have been more compelling dramatically speaking in its execution.
Wednesday, January 22, 2020
"Dolittle" Review
High-budget studio films are a massive undertaking, and today's sensationalist media reporting is such that people often like to take pleasure in the failure of any blockbuster that doesn't smash at the box office. But what happens when the latest box office flop is helmed by a highly beloved Hollywood A-lister.
Robert Downey Jr. has been making it very clear on the Dolittle press tour that he wanted to make a film that the youngest kids that follow him will be able to see. Though some parents are irresponsible enough to bring their shrieking children to a PG-13 Marvel film, other have enough sense to know that doing so simply isn't appropriate. Dolittle was a passion project to give the kids something that would be fun, full of wonder, and leave them with some good messages to take away by the time the credits roll. So what went wrong?
By all accounts, Dolittle should have been a hit. On paper, all the boxes are checked. A well-established series (the "Dolittle" books and previous film adaptations), a cast full of A-list names, and all the money needed to build a whole new world to get swept on an adventure in. Trouble first began brewing when rumours began to rise on Reddit regarding problems with production. There was talk of reshoots, actors not knowing what animals they were supposed to be pretending to act opposite, directors being replaced. There's no way of truly knowing what happened on set. It may have been as bad as the rumours claimed just as it may have been fine by typical movie-making standards, or anywhere in-between.
One of the main problems with the finished product of "Dolittle" is how clumsy the writing and humour is. There's an overabundance of the lowest type of humour, particularly in regards to bodily functions. Those are the types of jokes that only five-year-olds would laugh at. The climax of the film is Doctor Dolittle doing a colonoscopy on a dragon and after unclogging it, the dragon farts (you can see this moment in the film's trailer).
On the other hand, there are too many sporadically thrown-in modern references for pop culture and slang. An octopus says "snitches get stitches." Ants re-enact dialogue from The Godfather. Dolittle lacks a clear identity and or intention in what style it wants to be. The anachronistic references could have worked if it had been fully committed to, and embraced for all the style it can add to the film, as opposed to distracting from the more emotional and dramatic stakes of the story. The humour is so poor, despite having so many talented names in the cast, that it's likely down to a combination of poor writing and choppy editing.
With films like Pirates of the Caribbean (the first one or two) and Maleficent being successful adventure and fantasy stories that work well across age demographics, Dolittle had the right pieces to follow in their footsteps. It's not entirely clear what the main source of the misfires is. But if there is anything the film does right, it's the more heartfelt messages that the kids watching are supposed to take away from the story. Dolittle's adventure stems from a need to save the sick Queen or else the deed to their land will get sold off. Dolittle would be out of a home and a job, while all his animal companions living in the sanctuary would be thrust out into the wild right in the middle of hunting season. Additionally, the young boy Tommy who aspires to be Dolittle's apprentice has some nice subtext in his character arc. While Tommy comes from a family of hunters, he has a more empathetic attitude towards animals. When he comes wearing a fancy scarf gifted to him by the Princess, his father immediately chides him for his attire. When you see Tommy saddened at overhearing his father questioning why his son isn't more like the rest of the family (hunters), you can't help but note that children watching who similarly come from harsh families that don't understand them can feel hope that they too can find a home, adventure, and supportive friends somewhere out in the world.
Though Dolittle has been poorly received by adults, it still has enough going for it to appeal to small children. If you are a parent, older sibling, relative, etc. it could be worth adding to your child's collection.
Watch our video review of "Dolittle" here:
Tuesday, January 21, 2020
"Bad Boys for Life" Review
I decided to watch the first two Bad Boy films before seeing "Bad Boys for Life" and I won't mince words. The first two Bad Boys films have not aged well. The score in the first one is particularly unbearable (there's a dated, porno-saxophone playing very loudly when a sex worker is shot by the bad guy), and the second one had Will Smith making a threatening joke to an underage boy about him getting sexually assaulted. The reason why those films have endured enough for a third one to be created is the charisma and chemistry between the two leads, Will Smith and Martin Lawrence. Thankfully, Bad Boys for Life breathes new life and completely rejuvenates the franchise.
Bad Boys for Life has a respectable budget for a big-name blockbuster. However, with seventeen years having passed since the last one, 90 million dollars goes much farther because of how much technology has advanced to enhance the overall look of the film. This is the most stylish film of the three, and the way that the camera moves through shots whether covering the heroes doing action or even the more simple shots looking down on Miami, it's very enjoyable to watch on an aesthetic level. The scoring has significantly improved since the series began, as this time they've stuck to classic orchestral instrumentation which is a great way to class things up from the humble beginnings twenty-five years ago.
Though I've not been generous in my feedback of the first two Bad Boys films, I still recommend doing a rewatch (or first watch) leading into seeing Bad Boys for Life so you can appreciate how well they've developed the characters and even managed to reference past plot points. Mike is the ladies man who has a new love interest with every film. In the second, it was Marcus' sister (played by Gabrielle Union) and they mention in passing how Mike had broken up with her some time since the second film ended. We also see Marcus' daughter get married to Reggie, the same boy she went on her first date with back in Bad Boys II. Reggie is also the same boy who Mike threatened with sexual assault, but let's just hope that the characters have become more socially conscious since then.
The only noteworthy critique I have is towards the treatment of Alexander Ludwig's character Dorn. He's introduced with a back story involving trauma, and at the end of the film he mentions having started going to therapy. When he asks the other members of the team to come to group therapy of him, they mock his request and the interaction is played off like he is the butt of the joke for having the maturity to care about his mental health. It's by no means out of character for the others to be resistant towards therapy but there were still far better ways to handle the already stigmatised subject matter of mental health.
Putting aside the stylistic improvements of Bad Boys for Life compared to its predecessors, the film's greatest strength is that it has given more dimension to the lead characters and the story. In the past it was just about two police officers having a case to solve with some funny banter along the way. This time around, the very fact that this is the third film of a series is treated as a strength. There is a long history to these characters in their careers and their relationship with one another, which is leaned into for dramatic weight.
Bad Boys for Life is refreshing in how it gives the characters and the audience room to breathe and take in what Mike and Martin have experienced psychologically and emotionally during this case and how it builds on all the turmoil they have experienced in the very dangerous job they have been working for decades.
Many people complain nowadays about how frequently sequels and reboots are being commissioned but considering how much time has gone by between each film, this sequel doesn't feel rushed at all. The first and second Bad Boys films were released eight years apart and Bad Boys for Life has been released seventeen years after Bad Boys II. The growth and evolution of Mike and Marcus is on display. Their friendship is the same, in the sense that fans are treated to their usual comedic banter, but this time there is far more depth to their relationship as well as them as individuals.
Will Smith's character arc is spectacular. Mike has been a pretty vapid character in this franchise but this time around there is true growth and evolution. Some people seem to forget how skilled of a dramatic actor Will Smith is, since his biggest blockbusters are often focused on comedy, action, or both. The people in charge of Bad Boys for Life made the wise choice to capitalise on Will's multi-faceted skills and give him more serious dramatic material to play in between gun fights and wise-cracking.
This is a sequel done right. It's entertaining, feels fresh, and effectively justifies why it exists in the first place. It doesn't feel like milking an already established property, it feels like a natural progression of the story and characters introduced in the first two film. Three films in a series being released over the course of twenty-five years works far better than twenty-five films being released over ten years. Just some food for thought.
One final note I'll leave you with is to be aware that there are some scenes in the credits, one of which is a vague, open-ended set-up for a potential fourth film (which Sony has officially announced after the opening weekend exceeded initial expectations). Check out Bad Boys for Life for fun, action, and heart!
Watch the video review of Bad Boys for Life here:
Wednesday, January 15, 2020
"1917" Review
"1917" is the latest film to slip in as an awards show contender, with a bafflingly late release date (the film won two Golden Globes before it even had a wide release). The largest point of discussion has been the stylistic choice to film and edit the story to appear as if it's happening in one take. Though this reason might not be incentive enough to watch for those that don't enjoy historical war dramas, it should appeal to those with an interest in more advanced technical filmmaking techniques such as this.
Unfortunately, 1917 suffers from a Bandersnatch effect, as the novelty of this technical gimmick quickly wears off. The crew deserve all the credit for the difficult labour involved with creating this illusion, but as Duncan Jones recently tweeted, 'Cutting is like punctuation. It's a tool that can be as creative as the content.'
1917 would have benefited greatly if more consideration had been given to developing the story and its characters. It begins to feel very surface level in addressing the ethical dilemmas of war and combat, or the toll that it takes on the soldiers that fight in battle.
Will and Tom are the two lead characters tasked with delivering a message to stop some soldiers on their side from going into a battle where they'd be falling into a trap. The premise and execution of it on a storytelling level is very simple and straightforward. It's by no means a bad film, but it's peculiar to see it be ranked so high in the award show season. There are respectable performances from the lead actors, and the many A-list names that pop in for a scene or two, but overall it's just okay.
Watch the video review of "1917" here:
Astronomicon 3 Pop Culture Convention to Feature First Ever “Clerks” 25th Anniversary Reunion, WWE Superstar Alexa Bliss, Brat Pack Actor Anthony Michael Hall and More
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"Like A Boss" Review
Like a Boss is a waste of potential. With comedic powerhouses like Tiffany Haddish, Rose Byrne, Jennifer Coolidge, and Billy Porter, you'd expect to have a hit. Though there are laughs to be had, they come entirely from the skills of the lead performers who are largely let down by a lackluster script and some shockingly choppy editing.
Tiffany Haddish and Rose Byrne play Mia and Mel, best friends who have started a makeup/beauty company together. They end up in considerable debt from starting their own business and decide to sign a contract with Claire Luna (Salma Hayek), a cosmetics mogul who has her own agenda when acquiring companies to add to her empire.
If this premise sounds familiar already, that's because it's introduced thoroughly in the film's marketing campaign. The trailer gives away more than just the plot, but the vast majority of "comedic bits" as well. Whether it's Tiffany Haddish struggling to handle food that is excessively spicy, Tiffany Haddish threatening to jump off a high balcony in order to force a meeting with Claire Luna, or Billy Porter telling Mia and Mel to WITNESS. HIS. TRAGIC. MOMENT. the real tragedy is how much potential was wasted.
Perhaps most baffling of all is the ultra short run time of 83 minutes. This may account for why so much is given away in the trailer, as there is very little to draw from for marketing material. There was so much room to better develop the characters and flow of the story, since by the time the main conflict and fall-out happens, the resolution and wrap-up happens in what feels like five minutes (if you were to go back and time it it's probably closer to ten but the point still stands).
If you're a super fan of any of the lead actors and want to support their work, that's probably the only reason to show up.
"Underwater" Review
Underwater is a fun execution of aquatic monster horror, and a great way to kickstart the horror-filled month of January. The film makes a bold choice to skip the traditional first act in the commonly used three-act system of storytelling. Being that the film is only 95 minutes in length, it knows what its concept is and what the core audience wants to see: monsters at the bottom of the ocean.
Though being at the bottom of the ocean means a limited ability to see the monsters that the humans come in contact with, it also helps to build suspense and tension. There's an added layer to the film's story in that the drilling is taking place due to a seedy corporation that is looking for resources regardless of the repercussions to the environment. In the current state of global climate crisis, Underwater resonates with an audience that has a strong emotional investment in the clash between humanity and nature.
Kristen Stewart plays the balance between emotional urgency and physical action well. Admittedly it would have been more compelling if her character Norah had been romantically involved with Emily, Jessica Henwick's character. Instead the two women are given lacklustre love interests that fail to effectively up the dramatic stakes in a meaningful emotional way. With such a limited amount of screen time available to let the audiences get attached to the heroes of the story, this would have made for a more cohesive way of mixing the character material in with the monster action.
BESTSELLING BITTER ROOT SERIES IN DEVELOPMENT FOR FILM, WELCOMES NEW COLORIST SOFIE DODGSON, KICKS OFF NEW STORY ARC
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