XLrator Media has acquired North American distribution rights to the time travel thriller Time Lapse starring Danielle Panabaker (CW’s “The Flash,” FX’s “Justified”), Matt O’Leary (Fat Kid Rules the World, Natural Selection) and George Finn (LOL).
It will release the film in theaters and on VOD on May 15, 2015 on its “MACABRE” genre label.
“Time Lapse explores the possibilities of time travel through a machine that is capable of taking pictures 24 hours into the future. When three friends discover this mysterious machine in their neighbor’s apartment, they encounter a number of pressing questions, not least of which is the whereabouts of their neighbor. Realizing the potential impact of the machine, Finn (Matt O’Leary), Jasper (George Finn), and Callie (Danielle Panabaker) attempt to cash in on their discovery. But, when a dangerous criminal learns their secret, the friends must set aside their differences and confront the paradox of a future that was once predetermined and entirely uncertain. Using an engaging blend of action, humor, and philosophy, Time Lapse is an original thriller that not only keeps the audience guessing, but also explores questions of pre-determination, free will and destiny.”
Time Lapse is the feature directorial debut of Bradley King, who co-wrote the script with BP Cooper.
“A smart sci-fi thriller with a mind-bending premise, Time lapse combines the ingenious structure of Memento with the dark comic irony of ‘The Twilight Zone’,” said XLrator Media CEO Barry Gordon. “It epitomizes the exciting new wave of independently produced sci-fi films that rely on original, clever stories and masterful filmmaking rather than mega-million-dollar visual effects budgets. Last year The Wall Street Journal reported extensively on this dynamic new filmmaking trend.”
Scott Beck and Bryan Woods directed what is being styled as an innovative take on the found footage genre told from a singular point of view.
Nightlight, in limited theaters and On Demand March 27th through Lionsgate, Bloody Disgusting has landed the film’s official stills and one-sheet.
“For years, the Covington forest has been shrouded in mystery, with a dark past as a final destination for troubled youths. Undeterred by the news of a classmate who recently took his life in those woods, five teens journey into the forest for an evening of flashlight games and ghost stories. But their plans go awry when the friends awaken a demonic presence, an unseen evil that will seize upon their deepest fears—and plunge them into a nightmare of absolute terror.”
Shelby Young, Chloe Bridges, Taylor Murphy and Carter Jenkins star.
The deeper you go, the darker it gets.
WolfCop has been out on home video for a couple weeks now and if you haven’t seen it by now, I just don’t get you, man. Lowell Dean’s film is a riotous romp that works well as both an absurd creature comedy and a cop drama. In a genre that’s flooded with garbage like Sharknado, WolfCop stands tall as a unique work that happens to be damn well made.
I spoke with writer/director Lowell Dean about the origins of the film, balancing the tone, and the hardships of properly hacking off a head in a meth lab.
Before WolfCop you did 13 Eerie and some TV documentary work. How did you make the transition to such a no-holds barred type of film?
13 Eerie was my first film and it was a big break for me in a lot of ways. It was my first time ever directing something with a pretty healthy budget. Prior to that I was just doing my own short films for fun and I’d be lucky if I had a thousand bucks for those. 13 Eerie was a pretty big leap and gave me the taste for feature films.
It wasn’t my script at all, I just kind of lucked into being able to direct it. I learned a lot and I really enjoyed, but for my next film I definitely wanted to do something that I wrote, that’s more of my personality, which is a little but more messed up. WolfCop was just me trying to say, I want to write a feature film as well as direct and it was a tough road to get it made but we did it.
Were there any moments while you were writing or filming that you thought maybe you should pull back, that maybe you were going too off the rails?
Totally. That was a big struggle everyday. From prep to shooting and even when we were editing it, we were trying to find the tone. There were times on set where we’d shoot a scene and it felt too silly. So I’d say, okay do exactly what you just did, but do it as a drama. I think when the movie’s called WolfCop, you know, I didn’t want it to be just a two hour running joke with everyone winking at the camera. I didn’t want it to be Sharknado or even The Naked Gun level of humor. My goal was always a comic book movie, but I didn’t want it to be so funny you didn’t care about the characters.
I really love how some of the scenes are set during complete daylight. You don’t see that a lot in werewolf movies.
We got lucky I guess with the concept of the solar eclipse, so we got to see him in the daylight a bit more. But a big thing for me, is I love practical effects and I love the work that Emerson (Ziffle) did so it would be a shame to hide all that work under the cover of darkness. I mean sometimes it’s good for suspense but with these lower budget films it can also feel like you’re hiding something if you just shoot at night. I like the opportunity to show Lou in broad daylight, you know, in the middle of a convenience store. It’s something you’ve never seen so it’s absurd too, just seeing a werewolf walk into a store.
I really love convenience store scenes in general.
(laughs) I agree.
For the most part the film is all practical effects. What CGI did you have to use?
Our intention was to always try to go for practical first, but this was a very tight budget and a quick shoot. For example, the solar eclipse, we weren’t lucky enough to get B-roll of a real solar eclipse so we had to do that through CGI. There were some practical effects that didn’t turn out as perfectly as we wanted but we didn’t really have time to do multiple takes. It was like, okay we got our two takes of the guy’s head coming off, we’ll have to fix it in post.
Was there anything in the script that you had to take out because it wouldn’t work within the budget?
Definitely. The very first transformation scene in the bathroom was actually supposed to roll into a very big fight scene. It’s kind of impled, some guys walk into the bathroom and then it cuts to the moon. You kind of fill in the gaps. Originally I wanted to have a kick ass epic fight scene and we were going to build a completely fake bathroom and just destroy it. About two weeks before shoot we had the hard meeting, the budget meeting. Deb our production manager basically told me “You have three big fight scenes in your script, you can afford two, pick which one you want to lose.” Sadly that was the one. I’m going to try and hide those gags somewhere in a different movie.
That scene really works though, with the implied violence and the whole face off gag.
It was really the only scene that could be cut. There was no way I was cutting the barn scene.
I love the barn scene. The car is another one of my other favorite parts of the film. Just seeing a cop that’s a wolf drive a car is genius.
That was a lot of fun. The Wolf Cruiser, as we called it, was never even a guarantee. It was discussed but it wasn’t in the first few drafts of the script. J. Joly, one of our executive producers, was like “You gotta put that car in there.” It’s a good indicator I think to the world what the movie is in terms of tone, you know, for anybody who’s slightly confused. If you see a three minute scene of a wolf tricking out his car you have to accept that it’s a comedy at this point.
It was really fun. Justin Ludwig (production designer) designed a version of a cop car and we had fun with it. One of the coolest things is Leo Fafard was actually part of the team responsible for building the car. He was the one who welded the W on the hood. I was like, “You’re really earning your lead role here.”
How is WolfCop 2 coming along?
I’ve already written the first draft and we are slowly tooling away at getting the financing. I hope we can start shooting by summer.
So that’s definitely the next project for you?
100 percent. I’ve got some stuff that I want to do but it looks like WolfCop 2 jumped to the head of the line. It’s really hard making independent films so you jump anytime you think something has momentum.
Awesome, I can’t wait. Could you share any crazy stories from the set?
I think everyday was kind of crazy but one funny story that pops in my brain is when WolfCop knocks off the severed head in the meth lab and starts the fire, we thought that would be a really simple thing. But the way the head was built and the way the table was, it actually kept just bouncing off. So we had our whole crew at one point standing just off camera, taking turns whipping the head at this meth lab. That was a really weird afternoon.
WolfCop is now available on DVD/Blu-ray. Get the damn thing!
Like a throwback to 1980s and early ’90s crime thriller, Kill Me Three Times tells the tale of three different groups of questionable characters, who go about solving their problems in the worst possible ways, and even manage to drag a hit man into their battles. The assassin, Charlie Wolfe, is an accomplished killer, but even he soon realizes that he’s swiftly proceeded straight into a field of land mines after spending just a few hours in Eagle’s Nest. Now, his only course of action left is to try to complete his line of duty, even when tons of murderers, crooks, and liars stand in his way.
I was fortunate enough to speak with director Kriv Stenders about his hilarious, exciting new thriller Kill Me Three Times. In the interview, we talk about Kriv’s desire to cast a comedian in the role of a hit man, the way he used Australia’s terrain to amplify his shocking scenes, and his growing affinity for television.
Kalyn Corrigan: So, I was wondering, in what order to people sign onto this film? How did you bring everyone together for this project?
Kriv Stenders: Well, it’s interesting because I was sent the script when another director, who was originally meant to direct it, when there was a scheduling conflict. So, it was just this opportunity that came out of the blue and Larry Malkin sent me the script, I read it and I loved it, but what was really intriguing wasn’t necessarily that it was a good project, but it had a number of elements already attached to it. So, Sullivan Stapleton, Alice Braga were already on board, which was great, because I loved both of them as actors, so that was a great way to start. So, I read the script, and I thought, you know, this is such a fun movie, this is such a fun script, I find it really operatic and actually really funny. My pitch I guess was to amplify that comedy and that black humor. I think with Charlie, there are so many generic hit man in history that we can’t go down that same route, and I’m a big believer that comedians, or comedic actors make great villains so I said “I want to cast a comedian in this role.” So, we started looking at comedians, and one day Larry suggested Simon Pegg and I said “Genius, brilliant” and we were very lucky that he said yes. So, Simon came on, and then eventually, we got Callan Mulvey and Teresa Palmer and finally Luke Hemsworth and Bryan Brown. So, it all kind of happened very quickly, which is, again, fun.
KC: I think that’s very smart to put a comedian in the role of a hit man.
KS: Yeah, well you know, I think, I love Robin Williams in those movies that he did like Insomnia and One Hour Photo. I thought that was a really brave idea. I always thought, “Oh, I’m gonna store that idea, and use it one day.” That kind of methodology, but yeah, it really worked for us one on this one.
KC: I love the genre blending and I think where this film succeeds where others kind of like it in the past have not is that it’s not a straight parody, it’s an action film with elements of comedy thrown in.
KS: That’s right. Yeah, yeah. It’s what I call a four square meal. You get everything, plus a nice dessert. (Laughs)
KC: So how did you find that balance between the genres?
KS: It was difficult, actually. It wasn’t so much difficult to maintain, it was just difficult to kind of lock on to, because there was some dramatic elements to it. Simon created a kind of rhythm and feel and I guess tone. But, once Simon came on and we knew that was the way we were gonna go, then it very much became about, “Okay, we can do this and therefore we have to do this and we have to emphasize things in a different way, and always make people understand that this was ultimately a movie that had its tongue very firm in its cheek” and that was a lot of fun. It wasn’t meant to be taken seriously, and that goes into the color schemes, the framing, the music, everything. It’s very much like writing a song, or playing the music. Once you find the rhythm, you know what instruments you’re going to use, you just stick to that template and then it all kind of gels.
KC: Yeah. It’s also challenging because not only are you doing a film where you have three different groups of people whose stories interweave, but it’s all told not in chronological order. So, how did you go about tackling that?
KS: Well, like anything, a film’s never shot in chronological order anyway. They play with time when you schedule them. You know, you’re shooting the beginning at the end, or the end at the beginning, and whatever. But it was such a great screenplay, it had such a great architect to it that it was a bit like building a model airplane, all of the pieces were there, and it was a lot of joy in getting to put the pieces together. So, you always knew where that piece fitted in to the grand scheme of things, because you knew that it had this great kind of clockwork that played with time and that was its engine, so that’s a really delightful thing to work with as opposed to a straight, linear story. So, it has its own sort of shape.
KC: Yeah, James McFarland did a really great job on the script.
KS: He did an amazing job. He’s a very talented man. This is one of his first screenplays, so I think he’s got some big things ahead.
KC: Yeah. Did he spend a lot of time on the set?
KS: No, I’ve never met James.
KC: Oh really? Wow.
KS: Actually, I’ve only met him over Skype. He lives in Ireland, and I wouldn’t call him a recluse, but I think he doesn’t really travel much, so we had a long distance remote collaboration, which was still really, really great.
KC: So was that challenging? Because you never really got to see him?
KS: Not really because when you’re dealing with a writer, you’re dealing with words, you’re dealing with ideas, and in a way, I like it. It sort of makes things easier in a way, and cleaner, because you’re communicating in the best way possible, which is through words and through ideas, and he was very generous, as well. He was very open to my suggestions and to heightening things and tailoring things a little bit more to the way I thought they should be staged. So, that was just a great, great collaboration, a lot of fun.
KC: So he gave you a lot of freedom?
KS: He did, he did, but at the same time, the script itself also said, “Look, you can go off the track a little bit, but you can’t go too far” because it had this great, as I said, this great kind of matrix, this great architecture that you can’t really mess around with much.
KC: I noticed that there’s a smoothness and a fluidity to this film as opposed to some of your previous work. It seems that there’s a lot more tracking shots in Kill Me Three Times, so what made you want to change it up and kind of change your style of filmmaking for this project?
KS: Well, to me it was very much about, as a filmmaker I think you always want to learn something with every film you make. You don’t want to repeat yourself. You don’t want to rely on old tricks, and I think it’s very important that you challenge yourself, and you try and scare yourself a little bit. This was an exercise in making, I guess, sort of, a movie with a capital “M”. You know, an international movie. I said to the crew, “Look. Let’s not think of this as an Australian movie. Let’s think of this as an American movie that just happens to be set in Australia.” So that was a really great way to start to enter the material, you know? Let’s shoot on anamorphic lenses, let’s be bold with the color, let’s go ’80s on this. Let’s really embrace fluouros and neons, let’s really push the color, and let’s really play with the compositions, and let’s make what I call a sports car of a movie. It moves really fast, it looks really cool, and it’s really fun to drive.
KC: Yeah, yeah that’s definitely one of the things I loved about it is the use of color and how it kind of pops and it’s like this very distinct separation between the setting and the events that are taking place. It almost amplifies the violence, because the settings are so beautiful, and the shots of Australia are so gorgeous. So, how did you use Australia’s terrain to amplify the violence in the film?
KS: Well, again we sort of made the decision to, you know, that this wasn’t going to be a piece of social realism or wasn’t really going to be about a real place, and again it was like creating…I guess like creating a cartoon. It was about simplifying things, like making things the way they are in comic books, very graphic and vivid and high key. These landscapes we have are really beautiful, but these color schemes are really bold. That water is actually that color, it is that aqua green color. The skies are a vivid blue, and the greens really do pop. And I went, “Wow! That’s the color scheme! It’s going to be blue and green and red for the blood.” The landscapes sort of presented itself to me in that way. It was like, okay, these are like textedit colors, and I’m going to draw and paint this stuff with these really strong, vivid colors. It was great when you have something speaking to you like that, and you can play with that, and play with combinations, and how you can keep those visual colors and those ideas going throughout every facet of the story.
KC: Do you prefer filming in Australia as opposed to other areas of the world?
KS: Well, I haven’t really shot anywhere else. I live in Australia, and I love living in Australia, and I love working there. We’re very lucky, we’ve got a great system over there, we’ve got the offset system, which is great to have state and federal funding for films. We’re very fortunate. For a small country, I think we make a lot of movies, and I think we make a lot of really great movies. So, obviously, I’d love to work over here and make films internationally, but it’s sort of a country that I’ve grown up in and I’ve grown up making films in. We’ve got a great lineage, who’ve paved the path for us. A whole generation, people like Peter Weir and Phillip Noyce and Gillian Armstrong, so there’s a great kind of tradition there. Crews are fantastic over there. You know, we’re a very egalitarian race or country I guess, and that egalitarianism is really prevalent on a film set. Everyone helps each other, departments cross over, there’s no such thing as a bad idea and everyone is a creative participant in it, not just a crew member or someone who sets up a light, or pushes a dolly. They’re invested in telling the story.
KC: Yeah, they’re all very intertwined. So is this something that you would like to continue? Would you like to keep making movies in Australia?
KS: I’ll make movies wherever they’ll have me. (Laughs) Yeah I will, and I kind of have to, my family lives there. I think it’s an exciting time now. I think television and film, it’s all fusing. There are new canvases and platforms. The way we have watched films has changed, and it’s changing in Australia and it’s an exciting time, and I’m just fortunate to have a career there, and be able to build on my previous work and hopefully continue moving forward.
KC: Are you interested in pursuing television?
KS: Oh yeah, I’ve just done a T.V. show. I just shot a thing called The Principal late last year and it was just one of the best experiences I’ve ever had. Television, to me, it’s such an exciting new canvas. To me, it’s not really television, I call them long form movies, because I think that’s what good television is. It’s still the craft of storytelling. It’s the same craft and the same skills, and I guess the same standards that you’d use in a feature film, you’ve got to do that in television as well, because peoples’ standards are now that much higher, so it’s a thrilling time.
KC: Yeah, especially with shows like True Detective and Game of Thrones, they’ve become so cinematic.
KS: Yeah, and to me, it’s blurred now, and I find that really interesting and really exciting, because films have a place, and that longer style of storytelling has a place and it’s a bit like the difference between listening to a rock song or reading a book. You know, they’re both valid experiences. One’s immediate and short, you have that one-and-a-half hour experiences in a dark room or on your big screen, and it’s complete, while television is great too, it’s like reading a big book and putting it down, and coming back to it, and entering the story world in a different way. So they’re both valid, and they’re both, creatively, really satisfying and exciting mediums.
KC: Which one would you say you’re more interested in currently?
KS: In a way, I think television now, because it’s a way in which, I think films have become, there’s a polarity with movies now. You either make a tentpole film, or you make a film for like, baby boomers. In Australia at least, they’re they only films that work theatrically. So, there’s this whole middle ground of dramas and genre films that don’t really get to be made or be seen by a big audience, while with television, you’re allowed to do drama, you’re allowed to push. In a funny kind of way, you can be bolder with television now than with feature films because feature films are so expensive to make, and they have to be so targeted towards a certain audience that you have to be very careful about what you’re making, and who you’re making it for. With television, of course you still make it for an audience or for a market, but there’s a little bit more freedom in television.
KC: Yeah, one thing that I really loved about your film is that it was made for adults, you know?
KS: Yeah, no it’s very much an adult movie that hopefully you live vicariously through the characters and you have a bit of fun. It’s what films are meant to be. It’s entertainment and adult escapism.
KC: Do you think it’s important to make a movie like this in a society where films are geared more and more towards children?
KS: I’ve actually got a kid myself, and I’ve made movies for kids before, like Red Dog. You know they’re very important but at the same time yeah, I’ve grown up loving movies and loving all sorts of eras and all sorts of genres. I think it’s important to still keep making movies, you know, appealing to all kinds of audiences. I would like to make all kinds of films, and I just happened to make this one in this way, and it’s been really satisfying and really fun.
KC: Do you think you’ll make any more films for children?
KS: Yeah, I’m making a sequel to Red Dog next, and I wouldn’t call it a children’s film, it’s a family film, and it’s going back to that material and back to that kind of audience, because that’s a big audience. It’s good to make something that you know has got a home, you know, has a birth.
KC: Are there any other upcoming projects that you’d like to discuss?
KS: I’m trying to finance a film called Danger Close which is based on a true story about a very famous Australian battle in Vietnam. It’s an action movie, and that’s something that we’re trying to get off of the ground now, so that’s something I’m focusing on.
Kirk Von Hammett’s Fear FestEvil Adds Free Outdoor “Carnival Of Chaos”: More Special Guests Announced
For those of you in the San Jose, CA area, you should probably make serious considerations to head to the 2nd annual Fear FestEvil, which is hosted by Metallica‘s Kirk “Von” Hammett. The two-day event, held on April 11th and 12th, will be a mix of a horror convention, live performances, and art/car galleries. A VIP murder mystery dinner that will be held on April 10th has since sold out.
But now a new addition has been made to the event in the form of a free outdoor “Carnival Of Chaos”, which will feature, “…an authentic freakshow, carnival games, hearse car show, Kirk’s ’36 Ford and crypt, and various vendors all weekend.”
Live performances will be held at the RockBar Theater with a lineup consisting of Meshuggah, High On Fire, Orchid, Ghoul, Agnostic Front, and Asada Messiah. There will also be special guest appearances from Corey Taylor, Slash, John 5, Sara Karloff, Bela Lugosi Jr., Ron Chaney, Charlie Benante, and Bill Moseley.
General Admission tickets can be purchased through TicketWeb.
It was 20 years ago that Canadian industrial legends Front Line Assembly unleashed one of the most lauded and respected albums in the genre: Hard Wired. It was an album that revolutionized and upended the electronic world, redefining and rewriting the rules. And now, after two decades, the album will be remastered and rereleased with a whole bevy of additional goodies.
Artoffact Records has put together an insane 6LP boxset that features the album on 2LP vinyl, Live Wired, the band’s 1996 live album, on 3LP vinyl, and lastly the Circuitry single on 1LP. All of these albums were remastered from the original tapes by Greg Reely and Bill Leeb. Everything comes packaged in a deluxe lift-off lid style vinyl-sized collector’s box.
Metal fans should remember that Devin Townsend was the man behind the guitars on this album, so you’ll hear his crunchy goodness!
To celebrate this amazing release, we’re premiering the full Hard Wired remastered album stream, which you can hear below! It’s got all the songs AND an additional track, the “Circuitry Predator Mix”!
There are only going to be 300 copies available worldwide, 150 with blue vinyl and 150 with deluxe clear/red effect version. So make sure to pre-order your copy of the Hard Wired 20th anniversary 6LP boxset via Storming The Base.
ART BY: James Harren
PUBLISHER: Image Comics
RELEASE: March 25, 2015 More is explained in Rumble #4, and keeping its signature jokes before shit gets too real.The cover makes Del and Rathraq look like they should be in the weirdest hip hop posse in this or that world. What’s that? Run the Jewels covers? Rumble’s doing it way better. I’m kidding, all the covers look awesome. Either way, this issues doesn’t let out. If it’s not hitting you with info and playing off the fact that they’re doing that, it drops a joke before things turn too serious. Like what happened to Cogan and how he disappeared after being “disarmed” (I’m not apologizing for that or any future puns) by Rathraq back in issue one, and Del oddly being well versed in Sun Tzu’sThe Art of War. Even better? The Rathraq and Nusku rematch we’ve all been waiting for! I mean, I know I have. And Bobby? Well, he’s still in the middle of this shit, trying to see if he can get laid in the worst ways imaginable. Harren’s art keeps being a delight to stare at. When things are taking cool and calm, he accentuates every punchline with the characters’ various expressions. When the action picks up, he carries you from panel to panel with such natural flow, sometimes I had to do a double take to make sure I didn’t miss anything, only to realize two things: I went through those action moments so fast because he knows how to control the pacing of the comics and paneling so well that he can actually make an action sequence move at the time it would, and the second thing was that I didn’t miss anything at all, but I enjoyed the action all over again re-reading it. That’s right folks, this has readability value for days! Rumble continues to represent everything that’s fun about reading a comic book, and everything that’s mysterious and thrilling about a supernatural title. It’s thrilling and makes a phenomenal addition to any pull list. — Pablo Arriaga has been bringing the gospel of The Slacker Nerd to countless people the world over with Juatcast.com. He also writes the most metal rants on the web and knows a better recipe for tacos than you do. For more writings or to be baptized in the arms of Matthew McConaughey follow Pabby on Twitter and Facebook.
At the end of this issue there is a “previously on” block that you would normally find at the beginning of the issue. I must admit that I’ve been relying on these recaps to figure out what the fuck I read in the previous issue. Here is what this one says:
The story so far: You are reading a monthly comic book called “INTERSECT”. The story seems deliberately obtuse and difficult to decipher, like a cipher. But there’s something about it, and about you, that keeps you reading. You experience it, and you hold on to it. Part of you is hoping that it will come together in the end, that there will be a moment that makes you say, “Ah, it all makes sense now.” Another part of you knows that would only disappoint you. You live in a world that makes no sense whatsoever”
WRITTEN BY: Ray Fawkes
ART BY: Ray Fawkes
RELEASE: March 25, 2015
I’m tempted to just leave it at that, but I think this message itself is worth examining. By so accurately defining our experience and expectations as a reader, it becomes so clear how manipulated we are by the book. I don’t say that to be revelatory: after all art is by nature a manipulation, but I’ve questioned for some time where Fawkes is coming from with “INTERSECT”. Is he a mad man letting out his demons? Does all this shit make sense to him? Or is he just fucking with us to see how long we’ll put up with this madness. Well the answer seems to be Fawkes is praying upon our innate desire to make sense of the world, to look for patterns and to reject what we don’t understand. Indeed, the experience of reading “INTERSECT” is one of the themes of the book. We hope it will all make sense in the end, but we also know we’d be disappointed if it did. The book doesn’t make sense. We don’t make sense.
Its lofty to be sure, and it isn’t for everyone. But with the inclusion of a letters column we can finally feel less alone with “INTERSECT”. Its interesting how after every issue I go to find what other people are saying about it because I’m so intensely creeped out every time, I don’t understand what I saw, and I’m looking for someone else that understands what I just went through. Its trauma, reading this book is traumatic and we keep reading it and looking for help and insight and trying to understand, and then doing it again. We don’t make sense.
Do I want to make sense of “INTERSECT”? Do I think there is a puzzle to be solved? I’m not really sure anymore. I’ve started to think that Ali or Jason or both of them did something really horrible to each other and that this is hell. Would I be satisfied to find out that that is what is going on here? Probably not, but I don’t know. I think “INTERSECT” broke me.
The other S.H.I.E.L.D- what everything has been building towards this half season, is an interesting concept that leaves me with some mixed feelings. It makes sense that an organization as vast a S.H.I.E.L.D would still have dedicated people beyond Coulson and his group and it also makes sense that a splinter group would be formed that opposed Coulson as the rightful leader, especially considering how many shenanigans he’s been involved with. What I’m not necessarily buying is that the fundamental ideological difference between the two S.H.I.E.L.Ds is that they disagree with the way Fury led; “he kept too many secrets” says the mustachioed Ed Olmos on the secret “SHIELD 2” carrier. Well, whether you have a conceptual issue with “secrets” or not, Fury saved the world big time, and Coulson sort of has too. Its a little thin as far as motivations go, if that had been left out and they had just focused on Coulson being unpredictable and so on I think they could have put a finer point on the issue. But it is all very interesting: these aren’t Hydra people for Team Coulson to defeat, this conflict will need to be faced in a way I can’t even predict.
Agent 33 and Ward make their first appearance since the mid-season and most of this episode is focused on their effort to replace her burned up face and reclaim Bakshi in a twisted effort to reclaim her identity and cope with the trauma that Hydra caused her. Ward is still a manipulative psychopath, thankfully, and his intentions with Agent 33 are unclear. While kidnapping Bakshi from Talbot’s facility, Talbot runs around screaming and waving his arms like Yosemite Sam. It was a strange, out of place, almost wacky performance that reminding me I’m watching prime time ABC, something I forget often during this show. I usually don’t mind Talbot but this was something else.
The decision to stash Skye for the time being was a good one, and the difficulty of making that decision was not under represented. The responsibility was and should have been Coulson’s, and it was good to see the two of them connecting in this fucked up time. I don’t assume she’ll be out of the game for very long, if even a full episode, but this was the most logical choice they could make for the time being.
As much as this episode felt like the start of things, it was a satisfying conclusion to the drawn out “Mac and Bobbi have a secret” plot. There are a lot of moving pieces now, and I’m as excited as ever to see how it all comes together.
- The “Other” S.H.I.E.L.D finally revealed
- Ward is back
- Skye and Coulson
- “Other” S.H.I.E.L.Ds motive
- WTF Talbot
“Murder Book” is a series of 16 semi-related short stories that each deal with a murder (or several). Some are accidental, some are revenge, many are drug/money related, and each and every one of them attempts to go beyond the simplest tropes and conventions of the crime drama to explore themes of life and death in a sometimes profound way. “Murder Book” is the “Pulp Fiction” of comic books, and I highly recommend you check it out.
WRITTEN BY: Ed Brisson
ART BY: Simon Roy, Vic Malhotra, Michael Walsh,
PUBLISHER: Dark Horse
RELEASE: March 25, 2015
I don’t recommend reading this entire book in one sitting. I did, and after awhile desperate hopelessness of it all started to really affect me as each story ends with punch in gut, and furthermore almost every one of these stories has an interesting point or unique angle and I think a lot of it may get lost if you power through all 16 and don’t give any of them time to sink in. Instead, read one story every day when you get up. Do it as an experiment to see how Ed Brisson’s perspective can shift your world into a dark, dangerous place.
My favorite story begins at a bar in Vancouver (quite a few of them reference or take place in Canada) where a man recognizes a long lost friend of his that he thought was died a long time ago. The two begin to catch up, and the friend asks him a lot of questions about his old girlfriend, discovering she moved on, got married, and has a kid. The man tells his friend that since he left he and his wife had gotten divorced too. The friend won’t explain where he’s been or why he disappeared, but he invites him to a party and promises he’ll explain on the way. As they are walking across a bridge the friend asks if he can borrow the man’s cell phone to make sure its ok that he brings a friend to the party. When he gives it to him, the friend first calls a suicide hotline, then texts the man’s ex wife to say goodbye before throwing the man off the bridge. We see the friend call someone on a payphone and explain that he had been made and needed to be sent to a new city so it doesn’t happen again. The whole thing plays out in just a few pages, is succinct and unexpected and very creepy. The killer shows up again in a later story, and there are a lot of people that are connected throughout the different vignettes.
Every story is done in black and white and by a different artist. I was impressed how consistent the tone and style remained despite having so many different artists. Halfway through I began to see how strategic the choice of each artist was: the more straightforward gangster stories were drawn by artists using thick lines and extreme contrast while some of the more meditative and conversational stories had a lot more shades of gray. If “Murder Book” has a sequel I’d really like to see some stories from Darwyn Cooke and Sean Phillips.
“Murder Book” while be an absolute delight for crime fans. There are an incredible number of similarities here to “Pulp Fiction” and I mean that not just in content but in quality I’ll be reading this book again and again because there is so much to pick up on here that you might miss the first time. I’m a big fan of this “micro-fiction” format and if this is something you haven’t been exposed to before do yourself a favor and check it out.
Back in the mid-90′s, Skinny Puppy founding member Cevin Key (Kevin Crompton) released a solo album by the name of Music For Cats. This album, which had the subtitle “Subconscious Music Orchestra under the direction of Cevin Key”, was a glitched out dark ambient release that has since been out of print. However, Artoffact Records is changing that!
Direct from the official press release:
Out of print for many years, Music For Cats now sees new life as a double-LP vinyl release through Artoffact Records. A limited edition on blue and pink vinyl sold out within 48 hours of announcement. A new see-thru green edition is now available alongside the standard black version. The double-LP is limited to 550 copies and the gatefold sleeve contains new photos by Cevin Key. The vinyl is set to be released on May 12th.
You can pre-order your copy through Storming The Base.
Animator Joey Siler has uploaded a short music video for “Cat In The Box”, a parody of Alice In Chains‘ “Man In The Box”. With music by Chris Senter, under the moniker Kitties In Chains, the video shows three cats rocking out the song with a backdrop of famous band names turned into cat puns, such as Mecalico, Nine Inch Tails, A Purrfect Circle, Catatonia, and more.
Now, some of you may be asking why I’m saying this video is childish and immature. It’s simply that the lyrical content is primarily focused on poop and scooping it out of kitty litter. When it comes to cats, however, I can’t really think of too much else that they have to offer.
Reddit user samRAW08 has been hard at working taking classic horror movie posters and turning them into animated works of art.
From Child’s Play to Evil Dead 2, Poltergeist, Re-Animator, The Thing and even Halloween, check out a series of one-sheets that have been turned into gifs, all courtesy of his imgur page.
I wish you could make these tablet backgrounds, or at least we live din a world where digital posters were a thing. Maybe things will change 10 years from now?
Two weeks ago, we had a little quiz that asked “Which Supernatural Character Are You?”, which was wildly popular and a lot of you voiced your support and love for the show. So I figured I’d bring a quiz for Buffy The Vampire Slayer, another show that doesn’t get a lot of love on BD, although that’s because it’s not been on air for over a decade.
So, in the spirit of bringing up this consistently solid and entertaining series, let’s see how many of you, after a long time, can remember several facts about the characters! Below is a quiz with 10 questions that range from rather easy to “Who the hell would actually remember that?” I’ve only seen the series once and I managed to get 6 out of 10, so I’m sure that there are some serious Buffy fans that can nail this!
Reviewed by Jorge Solis. Moving at an incredibly fast speed, “Clive Barker’s Nightbreed” #11 wonderfully lets loose on the carnage and gore factor. Based on Clive Barker’s “Cabal” novella, this sequel picks up on the whereabouts of the former underground Midian inhabitants. Just like the “Hellraiser” series, the “Nightbreed” mythology explores uncharted territory and takes characters to new heights.
WRITTEN BY: Marc Andreyko
ART BY: Emmanuel Xerx Javier, Devmalya Pramanik
PUBLISHER: Boom! Studios
RELEASE: March 25, 2015
An old enemy has returned from the ruins of Midian to seek revenge. Ashberry, a former priest damned by the blood of Baphomet, has launched the first strike in his holy war. Caught in the crossfire, Boone is supposed to find a new home for his lost tribe. But will his own people even want him, knowing he gave them all up for Lori? Will The Breed step into battle against the Berserkers and save their lost savior?
Writer Marc Andreyko builds the suspense as he places his main protagonists in danger. Even with all the mayhem going around, I enjoyed how Andreyko dropped in the comic relief at unexpected moments. The opening pages starts out with the Breed stealing a fast car, which escalates into a furious crash. Stepping up as the Breed’s leader, Boone slices a Berserker’s head in half with a stop sign.
Artists Emmanuel Xerx Javier and Devmalya Pramanik bring in their own style when it comes to the action-packed panels. Pramanik exaggerates a punch in a extreme close-up, focusing on the lips and cheeks being hit. Javier illustrates Boone walking around in the middle of the streets, with his intestines hanging out. With the Beserkers right behind him, Boone has to stitch himself up to get back into the fight.
Everyone in “Clive Barker’s Nightbreed” #11 gets their hands soaked in blood. I can’t wait to see how this story arc will conclude in the next chapter.
This June, the will dead rise again as Double Take (2T) launches Ultimate Night of the Living Dead, with three new comics set in the universe of the 1968 film. Two series, Rise and Z-Men are written by preeminent Zombie writer,Jeff McComsey, while the third, Home, is written by Moth Grand Slam Champion, Peter Aquero. Digital previews of all three premier issues are available now at doubletakeuniverse.com.
Much more than just a singular launch, this marks the first releases in a major initiative surrounding the classic horror franchise, which frightened moviegoers all around the world and made zombies a household name. Having commissioned a new generation of writers to breathe new life into the classic franchise, 2T has a dozen series in the works – some following characters from the film in surprising new directions; other stories are all new. All creators are working in collaboration with 2T GM, Bill Jemas.
Format: Monthly (print and digital)
Print Price: $2.50
Release date: June
Writer: Jeff McComsey
Artists: Kurt Tiede, Frederica Manfredi, Vladimir Popov
#1: Sister’s Keeper
They’re coming to get you Barbara. Follow our favorite siblings, Barbara and Johnny, from the classic 1968 Night of the Living Dead film as they try to survive beyond the night at the abandoned farmhouse.
Format: Monthly (print and digital)
Print Price: $2.50
Release date: June
Writer: Peter Aguero
Artist: Julian Rowe, Monica Catalano, Javier Mena
#1: Lighter Than Air
A happy family, a lovely spring evening, and Zombies.
Home follows a working-class farm family through the events of the zombie apocalypse in western PA. On the night the dead rise, the Foster family has gathered for a quiet Sunday dinner. Oblivious to the horrifying events that will soon unfold, Paul Foster takes his wife and two young children into town, leaving his teenage daughter home alone with her boyfriend. As his small town falls into chaos, Paul has to keep his family together and somehow get back home to his daughter, who is left to fight her own battles.
Format: Monthly (print and digital)
Print Price: $2.50
Release date: June
Writer: Jeff McComsey
Artists: Kurt Tiede, Alisson Rodrigues, Max Flan
#1: Nervous in the Service
Dead and/or alive. LBJ orders the Secret Service to bring him back a Zombie.
It’s 1966 and the Oval Office is in an uproar; there’s been a spree of mass murders in Western Pennsylvania (and reports of the dead returning to life). President Lyndon B. Johnson assigns the head of the Secret Service to send agents into the field to investigate. Agents Stuart and Clancy are given the opportunity to serve their country and see if the zombie apocalypse has indeed begun.
April 18th is fast approaching and we all know what that means: Record Store Day! This is the chance to line up alongside your fellow music enthusiasts to pick up limited editions of albums that you’ve been wanting, that haven’t been released before, or that are getting a special treatment that is worth every penny and more.
Last year was the first year that I participated in RSD and I snagged some really incredible albums that I still play over and over. This year is also showcasing some fantastic titles that will ensure that I’ll be getting my ass in line.
So I wanted to share some of the titles that I’m really excited for and that I think deserve your attention. Check ‘em out and make sure to let me know if there’s something you think I should keep my eyes peeled for!
iZombie returned with a second episode tonight that gave us a lot more insight . I know I recapped the pilot last week before I got to the review, but I’m going to try out just reviewing the episode this week. Not that I don’t love writing the recaps, but I want to make sure people actually read them if I’m writing them. So if you’re reading this let me know what you want to read! Just a review? Or a lengthy recap with my commentary and a review.That being said, let’s get to the review! iZomvbie is two for two you guys! I thought that this episode was a slight improvement over the pilot, if only because the murder of the week was put on the backburner in favor of learning more about Blaine (David Anders) and his role in Liv’s life. I complained a little bit last week about how I was a little disappointed that the show seemed to be more procedural than serial, and this episode helped to put me at ease with that. We still had a case of the week (Scrub’s Judy Reyes walks in on her husband Javier’s corpse in their living room), but it was a bit more interesting than last week’s escort murder mystery.
If anything, the best thing to come out of this was Liv taking on Javier’s flirtatious ways after eating his brain. Watching Liv flirt with one of Javier’s lovers was hilarious to watch, and it also led her to run back to Major Lilywhite (I still can’t get over that name), who wisely gave her a piece of his mind and kicked her out of his house (though there was still no mention of the woman he had in his apartment last week).
We also got some good banter between Liv and Babinaux, who was dead set on Reyes’ Lola being the murderer (since it’s “always the spouse,” especially when they are in an open relationship). What was actually surprising was that Lola actually was the murderer. I kind of loved this twist, because it showed that Babinaux is actually smart and that Liv isn’t always right. I also love that Babinaux isn’t a typical annoying cop character. He’s useful to the plot and serves as a good foil for Liv. He’s got to figure out Liv’s secret sooner rather than later, though. I don’t buy him being dumb enough to believe her “I’m a psychic” schtick for much longer.
Blaine was introduced this week as well. In case you forgot, he’s the zombie who turned Liv. This was a surprise to me, because I really didn’t think iZombie would moving along so quickly, but I’m very grateful for it. First, Ravi (who is easily becoming my favorite character on the show) brings in a sketch artist so Liv can describe Blaine from her vision last week. By the way, I was wrong last week. It wasn’t Liv Blaine was killing in the alley. It was a random guy. Sorry about that! Anyway, Liv giving Blaine’s description to the sketch artist was some pretty hilarious stuff. You can tell that the writer’s room had a lot of fun coming up with the dialogue for that scene.
I’m glad Blaine revealed himself (though I’m still not quite sure how he found out Liv was looking for him, but whatever) and that Liv didn’t automatically buy into his “good guy” act. I feel like on another show, Blaine would be playing Liv for most of the season, but not on iZombie. Oh no, Liv is smart and she is onto Blaine. This turns out to be a good thing, since Blaine is actually going around the city building a zombie army (I think?). We also see him go into “Rage Mode” in a car with two drug dealers. Not much more was learned with that plot, but it’s intriguing nonetheless. Though if you read my Bates Motel reviews, you know how I feel about unnecessary drug trade storylines.
Overally I’d say this episode is a slight improvement over the first. It’s a funny, self-aware show and shows that Rob Thomas is 3 for 3 with the shows he has created (Veronica Mars, Party Down and now iZombie). Here’s hoping that the low ratings don’t lead to an early cancellation! It scored a 0.8 in the 18-49 demographic last week, which would spell certain death for a show on any other network, but that’s actually alright for a CW show.
- I love the matter-of-factness in Liv’s voice during the episode intro as she’s explaining her situation.
- “Wow you’re really a ‘flip-to-the-last-page-of-the-book’ type of guy.” Liv to Babinaux.
- “I’m just a fake psychic zombie trying to do her part.” You have to appreciate how the show pokes fun at itself.
- The comic book page transitions were really cool, but the best part was the chapter titles. My favorite: “Die, fidelity.”
- “I thought you said it was soft and gradual like a ‘sand hill.’” Liv’s description of Blaine to the sketch artist was hilarious. But this line of the artist’s (about Blaine’s nose) killed me.
- “Full-On Zombie Mode” or “Raging Out?” I’m going with Full-On Zombie Mode.
- “I saw a kid eating a peanut butter cup last week and I almost cried. I miss food so much.” McIver’s delivery of that was just really funny to me.
- I’ve said it once and I’ll say it again: I love the traits Live takes on from the brains she eats. I’m hoping she eats the brains of some crazier characters in future episodes. But does she permanently take on the traits? Or is it a temporary thing?
Three tales of murder, mayhem and betrayal unfold as poor professional hit-man Charlie Wolfe gets caught in the middle of other people’s pre-existing problems. Usually, Charlie’s suave, efficient, and quick. He’s hired, he executes the target, he’s paid, and he’s gone. However, once he becomes tangled up in the lives of Jack, Alice, Dylan, Lucy, and Nathan, Charlie’s consistent cool is blown to smithereens. First, he’s hired by Jack to follow and take out Alice, his wife whom he’s convinced has been sleeping around. Everything runs smoothly until married couple Lucy and Nathan interfere with their own plan to kill Alice, an act which they hope will help them climb out of their ever-deepening sinkhole of debt. Meanwhile, Alice’s love interest Dylan is blinded by his rage when he learns of his peers’ intentions, and sets out on a path of revenge, demolishing anyone who dare stand in his way. When all of the group’s plans go awry, everyone is left frustrated and greedy, and it isn’t long before it’s a room full of guns all pointing at one another, shaky with anticipation.
Much in the same vein as Pulp Fiction, Kill Me Three Times follows the interweaving story lines of three different groups of people, told out of order, to keep the viewer guessing until the final act. Like a 1990s crime thriller, such as Snatch, or an early Robert Rodriguez film, Kill Me Three Times delivers trigger happy, sleek brutality hand in hand with mystery and suspense. Simon Pegg is delightful as Charlie Wolfe, the assassin with a fashion sense like Johnny Cash and a funny bone like Ricky Gervais, down on his luck in a town full of crazies. Despite his dangerous, despicable job, compared to the impatient, bloody erratic mess that the other “morally sound” characters create, by the end of the film, it actually feels like Charlie is the only one that has his act together, which makes the movie even funnier. There’s nothing more absurd than a man who murders people for a living having the highest moral character of anyone else in the story.
It’s nice to see films like this tackled with a dark sense of humor, unlike some of its more serious predecessors, such as Drive, or Mission Impossible. However, the humor, when present, is appropriate. Where this action-comedy succeeds where others have failed is that it doesn’t go straight parody, it’s an action thriller old school spy movie with elements of humor thrown in as playful jabs at some of the cliches that clog this genre. The direction is not sacrificed in the name of comedy, and therefore, the film succeeds on nearly all fronts. Kill Me Three Times knows it’s a fun, popcorn crime thriller, and embraces its own wicked shallow charm so well. To be honest, it’s just really nice to watch a movie made for adults, in a society where pop culture is consistently geared towards children.
Gorgeous shots of the Australian terrain provide a nice contrast between the gruesome, lowly activities taking place and the gorgeous surroundings where the crimes play out, helping to highlight these shocking events to an even more attention-grabbing degree. Playful uses of color and camera movement make simple moments pop and help to build tension. Director Kriv Stenders does an excellent job of capturing his homeland in all her beauty.
Overall, Kill Me Three Times is a stylish, funny, clever account of what happens when a man who has pulled off fatalities for years without a hitch gets involved with the wrong people. In this blood-soaked, slow-paced pulp thriller, the laughs are derived from such dry humor that it seems like a picture that would fit in well with the Coen brothers’ filmography. Simon Pegg shines and proves he has done more than throw his hat in the ring to be the next Bond — he’s convinced you that he’s the best candidate. Where the script struggles is with the simplistic dialogue that sometimes causes a slight lag between moments of combat, but it still holds interest with its unique method of discontinuous storytelling, which most directors would shy away from. Through this haphazard tale of criminals of all classes edging closer and closer to rock bottom, the plot keeps you guessing until the end. With quirky characters, shocking violence and enjoyably crude humor, Kill Me Three Times is the best times spent in a theater in recent memory.
Hi, my name is Trace and I have only seen one episode of The X-Files. I know that is terrible, but when I was growing up I wasn’t allowed to watch it. Though for some reason, my mother thought it would be fine to go see The X-Files Movie in theaters with the whole family (the reasoning behind that is a mystery to me). I digress. I like to consider myself on top of most things TV and movie related, but I am very sad to say that I never went back and watched all of The X-Files (and the thought of binge-watching 9 seasons is daunting to say the least). You can imagine how left out I felt when it was announced that FOX would be renewing the series for a 6-episode limited series. I felt that I needed to write a post to explain my conundrum.
As I mentioned above: I have only seen one episode of The X-Files. I have also seen both movies in theaters. The one episode I have seen is the second episode of the show’s fourth season: “Home.” Why have I seen that episode, you ask? Because that episode is always mentioned on “Greatest TV Episodes of All Time” lists of “Most Disturbing TV Episodes of All Time” lists, so I thought it only appropriate to at least watch that one.
I loved “Home.” A lot. I enjoyed the first movie, and I was kind of bored during the second movie. I fully realize that watching those three things do not make me an X-Files expert in the slightest, but since those are the only three pieces of The X-Files that I have ever seen, that is all I can go off of right now when I make a plea to the TV gods to please make this new limited series amazing. Make it more like “Home,” and less like The X-Files: I Want To Believe. Basically, I don’t want another Arrested Development Season 4.
I know some of you will cry foul: I’m bitching about something I know nothing about, but that’s really not what I’m doing here. Presumably, I have seen The X-Files at it’s best (“Home”) and at its worst (the movie’s sequel). Bear in mind that I didn’t hate I Want To Believe like so many other people did, it was just kind of forgettable to me. All I’m asking is that for the sake of the show’s millions of fans, make the show’s 13-year hiatus worth it. I have faith, especially considering that original stars Gillian Anderson and David Duchovny will both be returning. Series creator Chris Carter will also be overseeing the new episodes, which does inspire confidence.
All of this being said, my goal this year is to watch all of The X-Files and be done by the time this new season airs so I can make a better judgment on its quality. What do you think? Do you think my request is a valid one? Or do I just need to shut up and let it happen? I can’t help but be both extremely excited and nervous about the quality of the new episodes we are going to get. I’m cautiously optimistic. TV gods, please, don’t f**k it up.