Team Sleep, which features Deftones vocalist Chino Moreno, will be entering the studio to record their long-awaited sophomore album with a tentative early 2015 release date planned. The band will be partially funding the new album with an incentive package that fans can purchase at BrownPaperTickers. Backers will receive such perks as silk-screened prints, a limited edition hoodie, a limited vinyl, a CD with previously unreleased recordings, and more.
The band released a statement saying:
Please join us as we create our next record in Woodstock, New York. We’ll gather at Applehead studio, near the base of the Catskill mountains to eat, write, play and record.
For a long time, business people, logistics, careers, adulthood, families and the House Republicans have thwarted us, but we’ve continued to make music. At the same time, the creative process has become increasingly fragmented and dehumanized. With that in mind, we’re very excited to get together with our dear friends, hang out, play music and have a unique experience in a beautiful place.
We’d like you to be there, too. Your participation will be essential to the independent creation and release of the live performance and our forthcoming studio record; we look forward to seeing you.
The band’s first release came out in 2005.
Back in 2005, when comic book legend Frank Miller joined forces with renegade indie filmmaker Robert Rodriguez to bring Miller’s sleazy, hyper-stylized, ultraviolent tribute to ’40s pulp detective thrillers Sin City to the big screen, it seemed the stars aligned quite nicely on that project, resulting in a swirling monochromatic blend of classic noir atmosphere, grindhouse-style exploitation and state-of-the-art digital magic. It was the right combination at the right time, and its success was well-earned. While a return to the rain-slicked perpetual night of Basin City was a foregone conclusion, it’s amazing it took nearly a decade for Miller and Rodriguez to revisit that world… but they finally did, delving again into Miller’s comic source material for a new set of interlocking stories – most of which actually take place prior to the events of the first film.
Where the original Sin City dove headlong in to surreal, twisted and often horrifying fantasy (living severed heads, monstrous mutants, a cannibal serial killer), A Dame to Kill For plays its cards a bit closer to the chest, adhering more to the long-established tropes of the hard-boiled ’40s detective novels and classic films which inspired Miller’s comic series in the the first place, with much less emphasis on outlandish, horror-tinged scenarios. That might seem like a fair choice (though perhaps a let-down for horror fans), but in the long run this approach actually works against the film, leaving it in often tedious limbo between over-the-top comic fantasy and gritty, old-school film noir, sampling heavily from both but not fully committed to either.
Thankfully, the wild, anarchic sense of fun is mostly intact, thanks in large part to the strength of the actors involved. Seeing many of the original characters return to the fold is a definite plus: Mickey Rourke’s hulking, wise-ass bruiser Marv is always a blast, dominating as thoroughly as he did in the first film (and rightly so); Jessica Alba returns as whip-cracking exotic dancer Nancy, now tormented by the loss of Bruce Willis’ grizzled cop John Hartigan, the only man she ever loved (the fact that he blew his brains out in the last film doesn’t mean he can’t watch over her). Rosario Dawson’s tough-as-nails Gail gets an awesome entrance, flanked by her all-female crew of Old Town assassins, but much like Alba, she doesn’t ultimately have much to do apart from briefly assisting Brolin. In fact, many of the principals are a bit underused, lost amid a rambling collection of missed opportunities.
Among the new talent on display is rock-jawed Josh Brolin, taking over the role of Dwight from Clive Owen for the film’s central tale, which precedes the events of the first film and follows Dwight’s doomed relationship with impossibly seductive femme fatale Ava Lord – the titular Dame – played with spooky, green-eyed, serpentine grace by the frequently naked Eva Green, turning in one of the film’s most outlandishly memorable performances. While the change in Dwight’s looks is explained reasonably well, and Brolin is compelling (as always) in the role, his personality has clearly shifted from super-suave antihero to a coarse, overwrought private-eye type who delivers the film’s most cringe-inducing, clichéd noir lines. Oh sure, I know Miller’s playing with the formula, and often in a satirical way, but some of Dwight’s Mickey Spillane-on-acid narration in this segment verges from hard-boiled into waaay overcooked, provoking the kind of groans usually reserved for truly awful puns. Joseph Gordon-Levitt brings his usual boyish charm as Johnny – a cocky, nearly infallible young gambler who pits his skills against Basin City’s puppet master, Senator Roark (the awesome Powers Boothe, once again devouring virtually every scene he’s in), who redefines the term “sore loser” in one of the film’s most brutal moments.
I would have enjoyed more screen time from any of these players, but the often truncated plot lines occasionally sabotage their potential. Loose ends go flopping in all directions – so many, in fact, that I suspect eleventh-hour cuts might have laid waste to large chunks of each story. For example, we’re clearly shown Johnny on a collision course of vengeance against the Senator (tempered by a shocking secret they share), but this thread is resolved too abruptly to carry enough dramatic weight. Alba’s Nancy is also driven by revenge, turned half-mad by hatred toward the Senator – whom, along with his late son Junior (a.k.a. “Yellow Bastard”), she blames for Hartigan’s suicide in the first film – and each time we see her she’s one step closer to exacting poetic justice… but when the moment of truth arrives, it’s a case of too little, too late.
Rounding out the ensemble is Dennis Haysbert (taking over for Michael Clarke Duncan, who sadly died in 2012), all smooth menace as Ava’s unstoppable bodyguard Manute – though I would have liked to see more of his titanic clashes with Marv, the only man who can equal him in hand-to-hand combat. We even get a creepy cameo from veteran actor Stacy Keach – albeit smothered in a grotesque fat-suit – but his inferred connection to Roarke begins and ends there. (Speaking of cameos: be on the lookout for a certain Ms. Gaga as a hash-slinger with a heart of gold, and the co-directors as drunken characters on a cheesy TV show.)
The stylish action comes as fast and crazed as Sin City fans have come to expect (heads and limbs go flying at every opportunity; one multiple decapitation got a round of applause from the audience), and the filmmakers utilize the same mad technical and artistic skills to bring lusty life to Miller’s panels – all inky black night and cut-out white silhouettes spattered with primary-color highlights (red cars, gold coins, a devilish blue dress, and buckets of blood in various hues). But ultimately A Dame to Kill For comes off as more of an interesting companion piece to the original film than a tale strong enough to stand tall on its own. Come to think of it, I’d actually like to see the two cut together into a single epic, while shifting some of the storylines around for continuity – similar to Coppola’s re-cut of the first two Godfather films – with some of the apparently missing plot threads restored. Now that would be a flick to kill for.
THE YEAR: 1934
The previous editorials (years 1931-1933) all contained movies that have come to be considered “Pre-Code.” The “Code” in “Pre-Code” is none other than the maligned Motion Picture Production Code, or, as it’s popularly known, the Hays Code. The Hays Code lasted from 1934 until the late-1960s, when it became the Motion Picture Association of America (MPAA) which we know and love today. What was the point of the Hays Code? As with so many other forms of censorship, it was meant to save you, gentle viewer, from that irresponsible individual known as yourself. You cannot possibly make a mature decision about what explicit content you deem acceptable, so the censors conveniently do it for you – how nice! That’s not to say the films on this (and future) lists aren’t worthy of your time. In a way, writers and directors had to get more creative and resort to something that is sadly lacking in many modern horror films: the power of suggestion. The five films described below are all excellent examples of what we’ll call “Hays Code Horror,” and I think that you’ll find that they’re every bit as engrossing as their “Pre-Code” predecessors.
THE BLACK CAT
(D) Edgar G. Ulmer
(W) Peter Ruric
(S) Boris Karloff, Bela Lugosi, and David Manners
After several years of starring in their own genre films, Boris Karloff and Bela Lugosi finally shared the screen in this (loose) adaptation of the Edgar Allan Poe tale. Lugosi plays Dr. Vitus Werdegast, a psychiatrist who, while spending time in a prison camp in World War I, mysteriously lost his wife. On his way to meet Hjalmar Poelzig (Karloff), his friend and reclusive architect, Werdegast encounters newlyweds Peter (Manners) and Joan Alison (Jacqueline Wells), who are on their honeymoon. After their bus crashes in the Hungarian countryside and Joan is injured, the three travelers make their way to Poelzig’s home. It is there that Werdegast discovers what has happened to his wife and uncovers Poelzig’s dark plans for the injured Joan. Despite their well-known dislike for one another off screen, Karloff is at his sinister best, Lugosi – in a rare sympathetic role – is quite good, and the screen comes alive when the two icons share it.
(D) Roy William Neill
(W) Wells Root
(S) Jack Holt, Fay Wray, and Dorothy Burgess
Black Moon is an early film about the seductive power of voodoo. The story revolves around a woman named Juanita (Burgess), who had discovered her parents’ corpses as a child. Apparently, Juanita’s folks were the victims of voodoo performed by the inhabitants of a tropical island where Juanita and her family were staying. Now an adult, Juanita (along with her daughter, Cora Sue) has an irresistible urge to return to the island of her childhood trauma. Once she returns, the island’s denizens treat Juanita as a voodoo goddess of sorts, and she is afforded every luxury. Juanita becomes so drunk with power, that she is willing to sacrifice her own daughter in the name of voodoo. Will her husband (Holt) and his secretary (Wray) be able to save Cora Sue (Nancy Lane), or will Juanita claim her prize? Part mystery, part horror, this little-known gem is atmospheric and well-acted – check it out!
EL FANTASMA DEL CONVENTO (THE PHANTOM OF THE MONASTERY)
(D) Fernando de Fuentes
(W) Juan Bustillo Oro, Jorge Pezet, and Fernando de Fuentes
(S) Enrique del Campo, Marta Roel, and Carlos Villatoro
As so many other horror films are, El fantasma del convento is essentially a morality tale. Adulterous couple Cristina (Roel) and Alfonso (del Campo) become lost one night while attempting to find a good make out spot. Enter a bizarre guide of sorts – is it ever wise to follow a stranger in a horror film? – who leads the pair to a foreboding monastery. Cristina and Alfonso are treated to a dinner with the Father Superior (Paco Martinez), who relates a story involving a monk overcome by his lust for a woman. After he seduced his friend’s wife, the rest of the monk’s life – and even his afterlife – were cursed. You can probably guess where the story goes from here, but don’t let a little predictability deter you from seeing this beautifully shot and eerie film. For those of you who are fans of Matthew Lewis’ 1796 horror novel, The Monk, you will certainly see the book’s influence in the film.
THE NINTH GUEST
(D) Roy William Neill
(W) Garnett Weston
(S) Donald Cook, Genevieve Tobin, and Hardie Albright
Based on the 1930 novel The Invisible Host by Gwen Bristow and Bruce Manning, The Ninth Guest is another fine early example of the haunted house subgenre. An anonymous host invites a group of eight disparate strangers to a luxurious apartment for the night. Once the guests are in the apartment and have experienced some fine food and drink, the host – via radio broadcast – reveals the real reason he invited them to the apartment: they have to outwit Death (the titular character) if they want to survive the night. Inventive death scenes and solid acting highlight this rarely seen oddity. I would like to think that the Saw and Final Destination franchises owe a debt of gratitude to this one.
(D) Charles Vidor
(W) Jack Cunningham and Gladys Lehman
(S) Evelyn Venable, Mary Morris, and Anne Revere
Based on the play by Elizabeth McFadden, Double Door is a chilling commentary on family dysfunction. The wealthy but psychotic Victoria Van Brett (Morris) terrorizes the members of her family who still live under her roof. Her favorite method of torture is to lure unwitting family members into the secret chamber, where they slowly go mad from isolation. When Victoria turns her ire to her half-brother’s wife, the only family member capable – or willing – to stand up to Victoria is her sister, Caroline (Revere). The performances in the film are decent overall (particularly Morris), but there is some staginess to the play adaptation. The real reason to see this film is for the setting – a creepy old mansion in New York City that leaves you guessing what’s around every corner.
ESP Guitars in Japan have unveiled a guitar themed after the popular video game Monster Hunter in celebration of the game’s 10th anniversary. The guitar features a huge blade with several horns protruding from it, making it look like an incredibly painful instrument to play. Still, any hecklers in the audience would learn very quickly to keep their mouth shut.
The guitar has a price tag of 2,300,00 yen, which is just over $22150, before tax. So, I’m going to go ahead and say that anyone interested in this instrument is going to have do some serious real life grinding to get that much loot.
Check out the photos below to see this monstrosity.
BODY : Alder
NECK : Hard Maple 3P
FINGERBOARD : Honduras Rosewood , 24Frets
INLAY : Liolæus
SCALE : 628mm(Medium)
NUT : Bone
JOINT : Bolt-on
BRIDGE : Gotoh 510UB
PICKUP : EMG 81
CONTROL : Master Volume
PRICE : 2,300,000yen (Without TAX)
Available on iTunes and On Demand September 30th from Tribeca Film is the insanely gory indie Demon’s Rook.
“Chaos descends upon a quiet town when Roscoe, the pupil of a wizard monk from an ancient race of demons, unknowingly opens a portal that allows an unspeakable evil to travel freely into our world. When three grisly beasts cross into our dimension, the living are possessed and the dead rise to destroy everything in their path. Armed with demons’ magic, Roscoe is the only fighting chance to put an end to their eternal path of destruction. ”
Check out the new trailer below from the ode to the DIY creature-feature classics of the 1980’s.
The CW’s comic book adaptation “iZombie” has recast yet another role, this time of Olivia “Liv” Moore’s mom, tapping Molly Hagan, pictured, to replace the originally cast Nora Dunn, EW reports.
Based on the DC Comics property, the new series stars Rose McIver as Liv, a med student-turned-zombie who works in the corner’s office to gain access to the brains she needs to eat in order to keep her humanity intact. Using the memories of the people whose brains she digests, she now helps solve homicide cases.
Hagan will recur as Eva Moore, a hospital administrator and overbearing mother who watches her ambitious daughter become a zombiefied couch potato who breaks off her engagement to every mom’s dream son-in-law.
In addition, “Devious Maids” star and “Scrubs” alum Judy Reyes will guest star as Lola Abano, an artsy bohemian who becomes the prime suspect when her artist husband is murdered.
“iZombie” will premiere midseason on The CW.
A man simply trying to protect his home and family commits a spur-of-the-moment act that will have unforeseen – and unimaginable – consequences in the simmering thriller Cold In July. The film, boasting a powerhouse cast, arrives on Blu-ray and DVD from IFC Films and MPI Media Group on September 30, 2014.
“How can a split-second decision change your life? While investigating noises in his house one balmy Texas night in 1989, Richard Dane (Dexter star Michael C. Hall in an affectingly vulnerable performance) puts a bullet in the brain of lowlife burglar Freddy. Although he’s hailed as a small-town hero, Richard soon finds himself fearing for his family’s safety when Freddy’s ex-con father, Ben (Sam Shepard, August: Osage County, The Right Stuff), rolls into town, hell-bent on revenge. But not all is as it seems in this seemingly peaceful community, and soon Richard’s life begins to unravel into a dark underworld of corruption and violence that will pit him against the most unlikely of foes.“
Co-starring Don Johnson (Django Unchained, Miami Vice) and Vinessa Shaw (Eyes Wide Shut, 3:10 to Yuma) and adapted from the Joe R. Lansdale novel by director Jim Mickle (Stake Land, We Are What We Are) and cast member Nick Damici (Stake Land), Cold In July is a pulpy Southern noir whose twists and turns continue to pile up right up to its shocking conclusion.
BD favorite The Parlour Trick has been featured in the trailer for the upcoming puppet gothic horror The Mill At Calder’s End. Their track “The Yellow Wallpaper” is heavily utilized throughout the 40-second teaser, which you can see below.
Meredith Yayanos, who is half of The Parlour Trick, will be scoring this film. She co-scored the director’s previous short, The Cabinet of Victor Karloch, alongside Lustmord and Zoe Keating.
The Mill At Calder’s End is, “…heavily influenced by the classic Hammer horror films of the 1960s and the films of Mario Bava…”
Director Kevin McTurk (creature effects artist and puppeteer on Jurassic Park 1, 2, & 3, King Kong, Hellboy 1 & 2) states:
The Mill at Calder’s End is a gothic tale that will be told with the traditional Japanese theater puppetry technique known as bunraku. Each puppet figure is controlled by three (or more) puppeteers dressed in black and hidden behind each character. It is my goal to make a film that celebrates practical effects and therefore there will be almost no computer generated imagery in the final film. In my first film, The Narrative of Victor Karloch, I utilized several silent film era camera techniques, such as a shot of a miniature ship on a stormswept ocean (which, in fact, was made up of painted flowing garbage bags). I plan to continue to use many more of these techniques to give a hand crafted look to The Mill at Calder’s End.
I’ve never been a huge fan of Fringe. I understand the appeal, and I even enjoyed multiple ideas the series dealt with. (Hello Multiverse!) In any event I failed to follow through on my commitment to watch the entire series, and the whole thing feels like a daunting task at this point. However, Titan Books is making it easier for new, casual, and diehard fans alike to jump back into the world of Fringe with their new original novel “Fringe – Sins of the Father.”
And thanks to the fine folks at Titan Books, I’ve got an exclusive preview to offer all of you.
The adventure that awaits you next week:A fatal incident in Walter Bishop’s lab estranges his volatile son Peter. In Bangkok, Peter steals a briefcase containing a mysterious vial and becomes the target of a group willing to kill to get it back. Seeking answers, he becomes entangled with Ella Lachaux-—the woman behind the lab disaster—and David Robert Jones, a terrorist whose goal is to create an army of shape-shifting killers.
Uncover never-before-revealed secrets of the characters, leading to the creation of the government’s covert Fringe Division.
In 2008, Peter Bishop is estranged from his father and running shady operations in Southeast Asia. His latest scam lands him in a life-or-death situation involving weird events beyond the ken of modern science. On the run, he finds himself pursued by strange
specters of his past… and his future.
The Fringe Division is summoned when the unimaginable occurs. Armed with experimental technology, special agent Olivia Dunham, “fringe” scientist Walter Bishop, and his son Peter Bishop investigate cases that lie beyond the realm of possibility.
Releases: 08/26/14 from Titan Books
A limited edition picture disc of 1987′s Stage Fright is now available for pre-order through composer Simon Boswell‘s website. The vinyl is limited to 300 pieces, so make sure to order yours now before it’s too late!
Directed by Michael Soavi, Stage Fright‘s IMDb synopsis reads:
A troupe of struggling stage actors is rehearsing for a small-town production of a play. Everything seems to be as it should until one of the cast members turns up dead. In a panic, the others try to get out, only to find they are now locked in the theater with the killer! Which one of them committed the murder, and who will get out alive?
Check out the trailer below.
There’s no shortage of fan theories regarding Silent Hills right now. The game was creatively revealed through a demo for a fake horror game called P.T. at Gamescom last week. Because official details are still scarce, we’re forced to pick it apart for any clues that may have been hidden by Kojima and Co. YouTuber SirDaidv Gaming decided to do just that by translating a Swedish radio broadcast that plays during the demo, revealing the possibility of aliens having something to do with this game.
The broadcast, which you can read or hear — your choice! — below, mentions a radio drama from 75 years ago. It also says they’re hear on earth, watching us. This is almost definitely a reference to the radio adaptation of The War of the Worlds, which scared the shit out of our grandparents back in 1938.
Aliens aren’t new to Silent Hill, though their presence has been relegated to special endings for many of the games. I wouldn’t be surprised if Silent Hills will continue that tradition.
Close your eyes.
Let your ears listen to the radio.
Do you hear my voice?
Can you hear the screams of your own soul?
Let us choose:
My voice, which tells the future, or your tormented [struggles?].
Well? What do you choose?
You can choose.
Your life. Your future!
Wise as you are, you may already have noticed.
As the radio drama from 75 years ago was the truth.
They are here on our Earth.
And they oversee and see all.
Don’t trust the news.
Don’t trust the police.
They are already controlled by them.
So has it been for 75 years now.
Only [our master?] can keep them [at bay].
You have a right.
A right to become one of us.
So welcome to our world.
Very soon, the gates to a new dimension will open.
Sometimes you have to wonder if the suits behind a project even watch the previous directing efforts of filmmakers.
Legendary Entertainment is enlisting Leprechaun: Origins‘ Zach Lipovsky to direct the zombie survival movie Dead Rising for Crackle and executive producer Lorenzo di Bonaventura, TheWrap reports.
Leprechaun: Origins is super disappointing, which is what makes this such a bizarre hire. Alas, people deserve second chances, and maybe Lipovsky will deliver with this vidgame adaptation?
Sony’s Crackle will give the 90-minute feature an exclusive digital release in the U.S. before the film receives a multi-platform release on SVOD, VOD, DVD and TV, while Content Media Corp. (“Halo 4: Forward Unto Dawn”) will distribute both feature-length and episodic formats on international platforms.
Set during an epic zombie outbreak that a mandatory government vaccine failed to stop, “Dead Rising” debuted on the Xbox 360 console in 2006 and has since spawned a video game franchise that has sold more than 6.5 million copies worldwide.
Tim Carter wrote the script and will produce with Tomas Harlan via their Contradiction Films banner, which also produced Machinima’s successful digital series “Mortal Kombat: Legacy.”
FX has set the premiere date for the fourth installment of its critically acclaimed anthology series “American Horror Story: Freak Show” for Wednesday, October 8 at 10 PM ET/PT., a press release reveals.
In addition to the first ever story details, revealed below, we also have the first (of I’m sure many) teasers. Admit one? I’ll take a ticket for each and every episode, please!
“American Horror Story: Freak Show” begins its tale in the quiet, sleepy hamlet of Jupiter, Florida. The year is 1952. A troupe of curiosities has just arrived to town, coinciding with the strange emergence of a dark entity that savagely threatens the lives of townsfolk and freaks alike. This is the story of the performers and their desperate journey of survival amidst the dying world of the American carny experience.
Jessica Lange, Kathy Bates, Angela Bassett, Frances Conroy, Sarah Paulson, Emma Roberts, Gabourey Sidibe and Evan Peters return. New cast includes Michael Chiklis, Wes Bentley, John Carroll Lynch, Finn Wittrock, Patti LaBelle and the world’s smallest living woman, Jyoti Amge.
EW shared the first official poster for Exists, the new found-footage movie from the co-director of The Blair Witch Project and V/H/S/2.
It will be discovered on various VOD platforms October 3, a few weeks before it hits limited theaters on October 24.
In Bigfoot’s bold return to the big screen, “five friends on a camping weekend in the remote woods of East Texas struggle to survive against a legendary predator that is stronger, smarter, and more terrifying than anything they would have ever believed exists.”
The film stars Chris Osborn, Dora Madison Burge, Roger Edwards, Samuel Davis, Denise Williamson and Brian Steele and is produced by Jane Fleming, Mark Ordesky, Robin Cowie and J. Andrew Jenkins.
RADiUS-TWC is hoping to charm you into seeing Alex Aja’s Horns with these new images, most featuring Danielle Radcliffe with a set of demon horns. I like the pic of him charming a snake, the other of him with a pitchfork.
Based on Joe Hills’ graphic novel of the same name, the film is slated for release on Halloween, October 31.
“Blamed for the murder of his girlfriend and ostracized by everyone he knows, a small-town guy (Daniel Radcliffe) awakens one morning to find he’s grown a pair of horns. Armed with the supernatural powers they possess, he sets out to find the true killer.“
Directed by Alexandre Aja (High Tension, Mirrors, Piranha 3D, The Hills Have Eyes) from Keith Bunin’s script, Horns stars Daniel Radcliffe, Juno Temple, Max Minghella, Joe Anderson, Kelli Garner, Heather Graham, David Morse, Kathleen Quinlan, and James Remar.
Bloody Disgusting’s Mike Pereira was a huge fan – read his review here – calling it “an audacious, wonderfully twisted romantic horror fantasy.”
The third issue of “Witchfinder: The Mysteries of Unland” does a few things right but many things wrong. It’s dialogue heavy, takes too much time to set up events that should already be unfolding, and the writers are perhaps being a little too coy? Yet while I worry about some of these issues, I can’t help but feel pretty satisfied with the end result.
WRITTEN BY: Kim Newman and Maura McHugh (Created by Mike Mignola)
ART BY: Juan Ferreyra
PUBLISHER: Dark Horse Comics
RELEASE DATE: August 20, 2014
Reviewed By Bree Odgen
“Witchfinder” #3 picks up right after last issue’s untimely death of Diggory Fenn. As Grey returns to Hallam, he’s greeted by Constable Lawless who’s set up a couple of residents to put on a “normal” act for Grey. This, combined with the argument that directly follows the Constable’s dog and pony show, shows the reader that if you didn’t think Lawless was involved before, you should now. Even though Fenn and his death are all but brushed off, issue #3 continues to focus on Hallam’s secrets and who’s in on them.
The writing is both exhilarating and infuriating. Newman and McHugh do this thing where they are coy as hell until the last few pages where they unleash a torrent of information that won’t be satisfied until the next issue. It’s a great technique to build the tension and give a sense of payoff for the reader but it wreaks havoc on the pacing. Issue #3 spent a great deal of time in the bedroom to Horace Poole. While he yells out unintelligibly due to his recent “stroke,” Grey and Mrs. Poole argue about witchcraft. Grey, up to this point, has exhibited the emotional urgency of a snail. But now that he’s finally met Horace face-to-face, he makes the conclusion that this is definitely no stroke, it’s witchcraft.
Nothing feels right about the way that Grey has jumped to this conclusion (other than the fact that it’s been made entirely too obvious to the reader). A man drowning in Poole’s Elixir, eels busting through your window threatening your life, a man disintegrating into a pile of bones, guts, and eels, these are all weird things that would cause one to jump to conclusions. But Grey takes those in stride. However, a man spouts off unintelligible words after having a stroke and this is what feels wrong to Grey?
Though Grey accurately supposes the events to be tied to witchcraft, this jump in logic feels too much like the writers are holding our hand through Grey’s process; giving us the answers before we have a chance to figure them out on our own. I don’t like the feeling of a writer doing my math problems for me.
My biggest concern is the pacing of the arc. For a 5-issue arc, I feel like it’s moving incredibly slow. Get to Unland already! The town of Hallam and the creepy events within have all but put up neon flashing arrows straight to Unland, yet Grey is taking his sweet ass time getting there. There comes a point where setting up ground work just feels like a really poor way of revealing secrets.
Having said all that, the story is still entertaining. It makes good use of ominous tones and unreliable characters. I can sense that it’s headed for something terrific. And with Ferreyra’s perfect art, it’s hard to feel too let down.
Spoilers: Lost the TV show was about Purgatory. There. Now you know. “The Life After” #2 goes head first into this story and tells readers this IS Purgatory. Get used to it. Who is in this middle ground for the souls? You wouldn’t believe me. I can hardly believe it and I read the book! Read on and see what is going on in this original new series from Oni Press.
WRITTEN BY: Joshua Hale Fialkov
ART and COLORING BY: Gabo
PUBLISHER: Oni Press, Inc.
RELEASE: 20 August 2014
Reviewed By Your Friendly Neighborhood Brady
If everyone around had committed something as tragic as suicide, would it lose its impact? Does it feel like prison if everyone is trapped together? Writer Joshua Hale Fialkov seems to give off that mood in this new series. Apparently even dogs can kill themselves and be trapped in limbo for it. It’s a fascinating idea on exploring this realm. I don’t know if it’s been explored before but this series is off to a very intriguing start. Regular guy Jude gets saved multiple times from multiple horrors by literary legend Ernest Hemingway. Yep. This book has all kinds of curve balls like everywhere.
Artist Gabo makes people killing themselves a very pedestrian thing in this middle world. Folks keep offing themselves in front of our lead characters. It looks odd which I think is the effect the creators are going for. Jude’s ability to help souls move on looks to be a major point to explore as the series progresses. Gabo’s mix of regular and surreal is a major help to such an ambitious story.
All of that plus the hook of “The complete history of creation in three pages!” has me intrigued enough to keep reading. This book is so out there, it’s worth your attention to see where it leads to next. Demons, aliens, dogs, management and upper management look to be interesting oddities to see in the coming months. Get into this book now and be ahead of the cool curve for once.
I have heard nothing but good things about Valiant’s re-launch that started a few years ago. As far as I can tell, this is one tight, proficient comic universe they are building. “The Delinquents” #1 shows off the lighter and off the wall side of what goes on with some of the would-be heroes inhabiting said universe. I like what I see here.
WRITTEN BY: James Asmus and Fred Van Lente
ART BY: Kano
PUBLISHER: Valiant Entertainment
RELEASE: 20 August 2014
Reviewed By Your Friendly Neighborhood Brady
I only know these characters through the gorgeous covers I’ve randomly seen now and back in the oh-so-shiny 1990s. I was too brain-washed by the ‘Big Two’ back then to really try anything else. After reading this first issue, I have one more regret to add to my wasted youth. Thankfully, I can get on board now.
This tale teases readers with all kinds of goodies: Hobo’s buried lost treasures, hobo language 101 (never know when that could come in handy), Mr. Meat, blown-up cars with princesses in them …and that’s just in the first few pages! Writers James Asmus and Fred Van Lente have a madcap buddy tale to tell here and they look to have a lot of merriment for all.
The art by Kano is gritty and dirty and hilarious…just like our heroes herein. Archer and Armstrong remind me of Van Lente’s epically great Incredible Hercules run. Quantum and Woody are the bastard children of Power Man and Iron Fistno is willing to admit to having. All of this looks great thanks to the capable and versatile art style of the underrated Kano. None of these characters are going to play nice together and readers will enjoy the fallout in action and snappy paneling and design.
I realize that the other Valiant books look more intense and action packed than “The Delinquents” #1. That Armor Hunterscross-over looks pretty cool. However, I think that’s the point. This book is where goofballs with powers do stuff and joviality and mirth ensue. The variant covers alone that combine to make a game board are a genius move itself. I have never liked the variant cover thing but THIS makes me want to actually buy them to play the game. If the cover can do that, I have no doubt the creators behind that and this story will deliver the goods here.
Christos Gage returns with “Fray” artist, Karl Moline, to deliver an appetizing filler chapter that contributes nicely to the larger tapestry of “Buffy the Vampire Slayer Season 10”. Pick up “I Wish” Part One today, and hit the jump to read our review!
WRITTEN BY: Christos Gage
ART BY: Karl Moline, Cliff Richards
PUBLISHER: Dark Horse Comics
RELEASE: August 20, 2014
Reviewed By: ShadowJayd
In the months leading up to the initial release of “Buffy Season 10”, Dark Horse Comics had been proclaiming that the series would be “going back to the basics”. While the first arc effectively demonstrated just that, this latest installment hammers the point home. Not only does the narrative employ the Monster of the Week Month trope in a way that it relates to an overarching series theme, but the theme itself is also reminiscent of Buffy’s early struggles in Season One.
This is not another story about slaying vampires and demons; this is a tale about responsibility and accepting reality. Things have been pretty chaotic since the new rules of magic altered the supernatural status quo, and now Buffy (as self-deprecating as she may be sometimes) has to trust herself, as well as her friends, to make sure things don’t get any worse.
The risks involved in handling the VAMPYR book seem to be as limitless as the directions in which this season can potentially take us, and this leads to a slightly different kind of storytelling from Gage. He manages to be surprisingly direct, yet inconclusive enough to keep readers guessing about the future of the series. There are no subtleties to be untangled in the script, as the characters’ feelings, narrative themes, and story developments are laid out pretty clearly on paper. The book reads like a breeze as it tries to speed to the next arc, and while not necessarily a good thing, it’s almost understandable considering the filler nature of the issue.
“I Wish” Part One begins with the Scoobies revaluating their living arrangements, and lamenting over financial woes. It’s a dilemma that speaks to the real life challenges of residing in San Francisco, where the cost of living is obscenely high. While seeking Detective Dowling’s help concerning pre-teen Giles’ inaccessible funds, a supernatural case is thrown their way that might just be the answer to their housing problems. A haunted apartment building at the centre of 25 missing child cases needs exorcizing. If the gang help, the landlady will offer them cheap rent in return. Simple enough… only nothing is ever simple in the Buffyverse. As they attempt to battle the demon in the building, they’re thrust into an alternate reality that they wished they’d had growing up. The Scoobies have to find a way to reject the fake reality in order to make it back home.
What’s interesting about this alternate universe is that time and geography is of no relevance there. They are still able to interact with each other even though Spike’s reality takes him back more than a century; Giles, nearly five decades, and the others, only as far back as their teenage years. Gage creates a very unique hell dimension that spans generations, using the innermost hopes and desires of each character against them. A few of their personal wishes feel repetitive at times, as they touch upon already explored fantasies, but there’s a sense of intimacy and connectedness that, not only ties the readers to the characters, but ties the issue up quite nicely. as well.
Taking over for Rebekah Isaacs on pencils is Karl Moline (Cliff Richards also credited). While extremely talented, his style is not generally effective when attempting to capture the likeness of the series actors. The fact that his 18th century William looks like True Blood’s Bill Compton, is evidence enough. But that’s not to say his artistic talents aren’t appreciated. In fact, he depicts the widely-varying range of despondency that pre-teen Giles is going through so flawlessly, readers will find it difficult not to feel the same as the story unfolds. Buffy’s fake reality also stands out in execution, as both Gage and Moline manage to personally evoke flashbacks to “Normal Again” (6×17). Other than that, the artwork definitely suffers.
Overall, “Buffy the Vampire Slayer Season 10” #6 is a decent installment, seemingly intended to bridge the gap between the first and second arcs. If the final page is any indication, expect more significant plot development in the following issues.
Reviewer: ShadowJayd, known everywhere else as Farah Jayden Hakkak, has been a staff writer for Bloody-Disgusting since July 2012. You can find her on Twitter, or passed out by the dirt road behind Wendy’s.
Attending the World Premiere of Adam Green’s Digging Up the Marrow at the Film4 Frighfest in London this Saturday night?
Every fan who attends the premiere will be landing the below 11 X 17 poster that is exclusive for Film4 Frightfest, and also exclusively being shared online by Bloody-Disgusting. This is the first in a series of 4 variant one-sheets leading up to the official poster and release details.
Green, best known for Hatchet, Frozen and “Holliston”, will be on hand signing the posters following the screening, which takes place at 8:45pm in Leicester Square, London.
Green also stars with Ray Wise, Tom Holland, Kane Hodder and Mick Garris in this documentary (also by artist Alex Pardee) exploring genre based monster art takes an odd turn when the filmmakers are contacted by a man who claims he can prove that monsters are indeed real.
Here’s our exclusive poster debut!