WRITTEN BY: Keenan Keller
ART BY: Tom Neely
PUBLISHER: Image Comics
RELEASE: December 3, 2014
Reviewed By Pablo ArriagaThe Motherfucking Humans have lost a brother but they will not mourn for long. Johnny is back in town from ‘Nam, and he’s not looking for praise or a parade. He wants to put his cut back on and call himself a Human once again. This issue shows the consequences of war on someone and the matters that still resonate with veterans from current conflicts. Every panel is a beast on it’s own. Tom Neely let’s the audience dive into this book by delivering amazing shots and great views on the characters. It’s a delight to see the close ups of Johnny and know how fucked up his mind is. With those awesome double splash pages that work better than any montage could. One of the amazing things about this book is not the story itself, but the weight it carries. Keller and Neely have successfully presented a world that’s well complimented by the philosophy of the characters. I’m not asking questions about the logic of the world, I’m wondering what the fuck are the Humans doing now and what’s the next mayhem they’re gonna get into, I’m enamored by the thought of being a Human, to “Ride or Die.” And if you’re wondering about actual existence of us “skins,” you’ll be able to know in this issue. If you haven’t, make sure you read all the way into the last page, download the monster of a soundtrack that continues to grow with every issue, unfortunately patches are sold out (for now) but let’s make sure they sell the fuck out once they come on sale again. We’re all Motherfucking Humans. I have to ask, Humans vs Sons of Anarchy, who wins? You know where my vote is.
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.
Variety and Deadline have confirmed that Ryan Reynolds is closing a deal to star in Fox-Marvel’s Deadpool, their long-in-development X-Men spin-off.
Reynolds announced the news by posting an image Thursday of the Deadpool character on his Twitter account (see below).
This is one of the few times that fan outcry was heard by studio brass, who moved quickly after this absolutely bonkers pitch video leaked earlier this year.
Tim Miller is directing the superhero film with Lauren Shuler Donner and Marvel’s Kevin Feige producing.
The talkative mercenary character, also known as Wade Wilson, was created by artist Rob Liefeld and writer Fabian Nicieza. He first appeared in print in 1991.
Reynolds looks like the perfect fit for the character. He’s got the energy and the asshole attitude necessary to do the character justice. If approached right we might have the first comic book movie with a fully disposable lead. Deadpool can literally blow himself up just to vanquish a room full of bad dudes. The real struggle will be finding a tone that will lend credence to the character since he often breaks the fourth wall. We need a Ferris Buellerian approach to the character that has insane action on the level of something like The Raid. Will we get it? Looks like we’ll find out in February 2016.
Uh… It’s Chimichanga Time. pic.twitter.com/ZlknW4HOtj
— Ryan Reynolds (@VancityReynolds) December 4, 2014
The director of the Sundance Film Festival selection Reversal is already prepping his next feature.
Daniel Posada and Justin Tamasco are preparing a February start on 100 Cries, the horror follow-up from Reversal director JM Cravioto, says ScreenDaily.
The film is a re-imagining of Ramón Obón’s 1965 Mexican horror classic 100 Cries of Terror that will feature a US cast.
The project is part of Dark Factory’s slate of US productions that will shoot in Mexico and receive marketing support to a global audience.
Next to go after 100 Cries will be The Boondoogle. Steve Carr is attached to direct and Rob Riggle and Thomas Lennon are attached to star and wrote the most recent draft from an original screenplay by Christopher Halvorson. It’s the story of two American insurance executives on a business trip to the Tropics who spiral into a psychedelic vortex of sex, violence and goats.
Sundance Park City At Midnight selection Reversal, pictured, centres on a young woman who escapes the clutches of a sexual predator and turns the tables on her captor.
Having its World Premiere at the upcoming Sundance Film Festival is Eli Roth’s latest genre offering!
Keanu Reeves stars in Knock Knock, in which two beautiful young girls walk into a married man’s (Reeves) life and turn a wild fantasy into his worst nightmare.
Lorenza Izzo, Ana De Armas, Aaron Burns, Ignacia Allamand, and Colleen Camp also star.
Check out the full Park City at Midnight line-up by clicking here.
This morning Paramount unleashed the full trailer for Terminator Genisys, in theaters July 1, 2015.
We’ve dissected the trailer in still form and have tons of shots of the cast, including John Conner (played by Jason Clarke), Sarah Conner (Emilia Clarke), and even Arnold Schwarzenegger in his various forms. I love the colorful battle shots like the one above.
Alan Taylor shot the film in New Orleans. Jai Courtney also stars as Kyle Reese, with Byung-hun Lee, Matt Smith, Aaron V. Williamson, Dayo Okeniyi and J.K. Simmons.
Sundance Institute announced today the films selected to screen in the 2015 Sundance Film Festival out-of-competition sections Spotlight and Park City at Midnight, as well as the films and installations to be featured in the New Frontier program. The Festival will take place January 22 to February 1 in Park City, Salt Lake City, Ogden and Sundance, Utah.
Trevor Groth, Director of Programming for the Sundance Film Festival, said, “This year’s Park City at Midnight selections have much to offer genre enthusiasts. With everything from futuristic fantasies to paranormal nightmares, it’s an all-out trip to the cinematic edge.”
PARK CITY AT MIDNIGHT
From horror flicks to comedies to works that defy any genre, these unruly films will keep you edge-seated and wide awake.
Cop Car / U.S.A. (Director: Jon Watts, Screenwriters: Christopher D. Ford, Jon Watts) — Two 10-year-old boys steal an abandoned cop car. Cast: Kevin Bacon, James Freedson-Jackson, Hays Wellford, Shea Whigham, Camryn Manheim. World Premiere
The Hallow / Ireland, United Kingdom (Director: Corin Hardy, Screenwriters: Corin Hardy, Felipe Marino) — When a London-based conservationist is sent to Ireland to survey an area of ancient forest believed by the superstitious locals to be hallowed ground, he unwittingly disturbs a horde of terrifying beings and must fight to protect his family. Cast: Joseph Mawle, Bojana Novakovic, Michael McElhatton, Michael Smiley. World Premiere
Hellions / Canada (Director: Bruce McDonald, Screenwriter: Pascal Trottier) — Teenage Dora Vogel must survive a Halloween night from hell when malevolent trick-or-treaters come knocking at her door. Cast: Chloe Rose, Robert Patrick, Rossif Sutherland, Rachel Wilson, Peter DaCunha, Luke Bilyk. World Premiere
It Follows / U.S.A. (Director and screenwriter: David Robert Mitchell) — After a strange sexual encounter, a teenager finds herself haunted by nightmarish visions and the inescapable sense that something is after her. Cast: Maika Monroe, Keir Gilchrist, Daniel Zovatto, Jake Weary, Olivia Luccardi, Lili Sepe.
Knock Knock / U.S.A. (Director: Eli Roth, Screenwriters: Eli Roth, Nicolas Lopez, Guillermo Amoedo) — Two beautiful young girls walk into a married man’s life and turn a wild fantasy into his worst nightmare. Cast: Keanu Reeves, Lorenza Izzo, Ana De Armas, Aaron Burns, Ignacia Allamand, Colleen Camp. World Premiere
The Nightmare / U.S.A. (Director: Rodney Ascher) — A documentary-horror film exploring the phenomenon of sleep paralysis through the eyes of eight people. They (and a surprisingly large number of others) often find themselves trapped between the sleeping and awake realms, unable to move but aware of their surroundings while subject to disturbing sights and sounds. World Premiere
Reversal / U.S.A. (Director: J.M Cravioto, Screenwriters: Rock Shaink, Keith Kjornes) — A gritty psychological thriller about a young woman chained in a basement of a sexual predator and manages to escape. However, right when she has a chance for freedom, she unravels a hard truth and decides to turn the tables on her captor. Cast: Tina Ivlev, Richard Tyson, Bianca Malinowski. World Premiere
Turbo Kid / Canada, New Zealand (Directors: Anouk Whissell, Francois Simard, Yoann-Karl Whissell, Screenwriters: Anouk Whissell, Francois Simard, Yoann-Karl Whissell) — In a post-apocalyptic future, The Kid, an orphaned outcast, meets a mysterious girl. They become friends until Zeus, the sadistic leader of the Wasteland, kidnaps her. The Kid must face his fears, and journey to rid the Wasteland of evil and save the girl. Cast: Munro Chambers, Laurence Leboeuf, Michael Ironside, Aaron Jeffery, Edwin Wright. World Premiere
Magnet Releasing shared some new images from [REC]4: Apocalypse, the fourth and final entry in the groundbreaking and terrifying [REC] horror series.
[REC]4 was directed by Jaume Balagueró, co-director of the first two films who returns for the climax of the series. Whereas [REC]3 took a slight tonal detour towards horror-comedy, [REC]4 is a return to the intense thrills and scares that helped make the [REC] franchise one of the most beloved in the horror genre.
Magnet will release the film day and date in theaters, on iTunes and On Demand everywhere on Friday, January 2nd, 2015.
“[REC]4 picks up a few hours after the gruesome events of [REC]2, where an elite squad of soldiers has infiltrated an apartment complex teeming with the victims of a demonic possession virus that has transformed them into vicious killers, in an attempt to extract a young reporter, Angela Vidal (Manuela Velasco). Angela wakes up in a high-security quarantine facility located deep in the bowels of a giant ocean freighter. But her ordeal isn’t over, as the terrifying virus has made it on board with her, taking the series to a spectacular and bloody finish on the high seas.”
The film had its world premiere at the Toronto International Film Festival this year in the Midnight Madness section.
It was produced by Julio Fernandez and Castelao Pictures, and co-written by Jaume Balagueró and Manu Díez.
Sony Pictures Animation announced yesterday the casting of Oscar-, Tony-, Grammy- and Emmy-winning writer, director, performer, composer and producer Mel Brooks in the sequel to the 2012 worldwide hit, Hotel Transylvania 2.
Today, we have even more images, including one of Brooks in the role of Vlad, the ancient, undead and incredibly grumpy father to Dracula (Adam Sandler). “Dracula, Mavis, Jonathan and all of their monster friends are back in the brand new comedy adventure: when the old-old-old-fashioned vampire Vlad arrives at the hotel for an impromptu family get-together, Hotel Transylvania is in for a comic collision of supernatural old-school and modern day cool.”
Brooks – who takes on the role 40 years after helming the horror-comedy classic Young Frankenstein – said, “I’m having a wonderful time with the character Vlad. He’s been around for eons and he’s a pretty crabby guy. Basically, he reminds me of me.”
Hotel Transylvania 2 is slated for a September 25, 2015 release, and is being directed by Genndy Tartakovsky, produced by Michelle Murdocca, executive-produced by Sandler, Allen Covert,and Ben Waisbren, and written by Robert Smigel.
What We Do In the Shadows (read our review), a mockumentary/comedy written, directed by, and starring Jemaine Clement (Flight of the Conchords, Men In Black 3) and Academy Award nominee Taika Waititi (Boy, Eagle vs. Shark), finally has a U.S. trailer ahead of its February 13, 2015 release.
“Diving deep into the throes of vampire life in New Zealand, What We Do In The Shadows introduces us to age-old vampire flatmates Vladislav (862 years old, played by Clement) Viago (379 years old, played by Waititi), Deacon (183 years old) and Petyr (8,000 years old). Stuck in their antiquated ways, they struggle to adjust to 21st century customs, like paying rent, sharing household chores and getting expressly invited into nightclubs. Enter 20-something hipster Nick, who Petyr turns to get an inside education on the modern world. What follows includes a whole lot of discovery: from fashion to technology and even a little feeling — all laced in continuous hilarity, of course.“
WARNING: Full Spoilers Ahead
This week’s episode of “American Horror Story” was a vast improvement from last week’s. Though I will say it still feels utterly scattered and stuffed to the brim with plot. It’s hard to feel emotionally connected to any plotline or character arc when there are so many. But there were some solid individual scenes in “Blood Bath” and some really decent performances.
I really enjoyed the last stand between Elsa and Ethel, or as I am now calling it, The Battle of the Accents. Two wonderful actresses having a very dramatic moment together. It was pure acting and done very well. I didn’t really care about the things being said or the directionality of the conversation (I find it hard to believe Ethel would believe Elsa killed Ma Petite no matter what she overheard last week, and I find it even harder to believe that she would decide to kill Elsa), but the drama that these two award winning actresses were able to conjure was supreme.
I didn’t have much of an emotional response to Ethel’s death. In fact I was slightly annoyed because all it did was cause Jimmy to drink and cry for 40 minutes. So. Much. Awkward. Crying. I’m not saying he should be a machine and suck it up or anything, but wow, they really got their mileage out of his contrived sobs. I’m not sure why I’ve loved Peters so much in the past. This season feels like he’s never acted before in his life. Between his drunken ramblings, his overdramatic yelling, and his childlike weeping…I just can’t with him anymore.
One of the great scenes this week was the ladies retribution on Penny “The Great Lizard Girl’s” father. When all the lady “freaks” decide no more!…they kidnap Penny’s father, tar and feather him and intend on killing him (only after cutting his dick off… I freaking love Desiree). But Penny has a really powerful moment, deciding to let him live. And her speech to him is simply rad. The entire scene was really strong, from the horror to the drama to the triumph.
The rest of the episode dealt quite a bit with Dandy and his mother. Those of you who read my reviews know that I love Dandy more than anything. I think Wittrock has completely surprised us all this season. I feel confident in saying that no one could have expected how overwhelmingly awesome he would become throughout the season from the first episode. And to be paired with Frances Conroy, wow. I love that pair. I was happy to get more of her in “Blood Bath.” We learned her past, including her past sins and how they “contributed” to Dandy’s psychopathy. But her greatest contribution to the episode, and I guess really the entire season, is how she highlights Dandy’s illness by simply being around him. Conroy is such a phenomenal actress she barely needs to say a word to essentially blast a spotlight on Wittrock’s character. Without her, his crazy would be less sociopathic and less interesting. This point is proven in a very visceral way this week when he kills her and literally bathes in her blood (I was pretty happy about clever episode title being both metaphorical and literal). Basically, Dandy would have been nothing in “Blood Bath” without his mother to prop him up as a suitable psychopath.
All in all, I didn’t hate this episode. I didn’t love it. It definitely didn’t leave a lasting impact, even with all the major deaths. As I mentioned above, there were some great performances and individual scenes. At this point it feels useless to complain about the hurried storylines and over-packed episodes because that’s just how “AHS” is, has always been, and will probably always be. With only a few episodes left, I will say that as annoyed as I get with the show, it tries something that nothing else tries. It doesn’t always succeed and often times it makes a heaping mess of itself. But it’s hard to truly hate a show that is doing something no other show has the balls to do. (I don’t quite know what that something is, but we all know it’s there).
A few stray thoughts on the episode:
It’s weird that we only heard the voice of Dandy’s therapist. I’m curious to see if that will be one of the many tie-ins we have been teased with, or if it was just a stylistic choice.
The Axeman Returneth! It was fun to see that pairing again and makes you wonder if the theory about all the seasons being connected because the characters are stuck in a looped sort of hell is true.
I’m slightly shocked Stanley has stuck around. The second word travels about the tiny new oddity soaking in formaldehyde at a museum, he’s going to be the prime suspect. I would have thought he’d move on to new things by now. The fact that he’s still stringing Elsa along with that Hollywood bullshit, and the fact that she still believes it is painful.
Before Ethel died she mentioned to Elsa that she hid the twins away in a safe place. Ethel’s dead now. Let’s hope she told someone else where she put them. Or actually let’s not hope for that because it might make for a fun storyline.
How did you like “Blood Bath?” Does Gabourey Sidibe annoy anyone else or is that just me?
A new progressive death metal supergroup has arisen in the form of Alkaloid and they’re looking for your help to record their debut album The Malkuth Grimoire, which they hope to release in Spring of 2015.
The band features vocalist Morean (Dark Fortress), guitarist Christian Muenzner (Spawn of Possession, Ex-Obscura, Ex-Necrophagist), guitarist Danny Tunker (Aborted, ex-God Dethroned), bassist Linus Klausenitzer (Obscura, Noneuclid), and drummer Hannes Grossmann (Blotted Science, ex-Obscura, ex-Necrophagist).
Grossman states, “The music we write with Alkaloid is very diverse, it’s radical, new, and it’s very progressive. Music labels want music that they can label.”
Below is the pitch video as well as the track “Carbon Phrases”. The Indiegogo page can be found here.
Christopher Sebela’s “Escape From New York” #1 does the heavy lifting of defining a world created by John Carpenter. For the most part he succeeds, but there is a lot of heavy lifting required to get this story in motion. It suffers from heavy amounts of exposition but it’s a thousand times better than Escape From L.A. It’s the sequel we deserved.
WRITTEN BY: Christopher Sebela
ART BY: Diego Baretto
PUBLISHER: BOOM! Studios
RELEASE: Dec 3, 2014
A moment of reflection on Escape from New York will remind you that the actual plot of the film is a little empty. It had some really big ideas within it, but you have to unpack them to really get immersed in this world. Christopher Sebela isn’t afraid to unpack these ideas, in fact he comfortably builds Carpenter’s world in a fun and faithful way. But, far too much of it happens here, which sadly damages the momentum of this first issue.
It’s still an incredibly fun to see Snake Plisskin grace page. Sebela nails the tone of the character, and offers some truly stellar Snake dialogue. The script features some fantastic problem solving from Snake, and when the action is ramped up there are no shortages of awesome moments.
The series picks up literal moments after the conclusion of the film. The President is about to deliver an address to the public and Snake all but spits in his face. He takes off on the run, and becomes public enemy number one, yet again. A concept that people may find silly, but it’s okay because Sebela directly addresses it, seriously, that makes it okay. I don’t mind if something is silly, so long as it’s still silly within the world of the book.
Anyway. Snake takes to the road. And while there he runs into a collection of devout travelers who tell tale tails of a beautiful place called “Florida.” I’m sure Sebela is actually conning us since Florida is already hell, but perhaps in some strange state of affairs the wang of the United States is where this book really kicks into high gear.
Of course, just as things get really interesting. The first issue closes. I can’t wait to see what lies within the free state of Florida.
Diego Baretto does a fine job in brining Carpenter’s bleak world to life. He adds a certain edge to Snake that really makes the antihero stand out in every panel. His action scenes are serviceable if not a little confusing at times, but for the most part his work is clean, exciting, and does justice to the world.
“Escape From New York” #1 is a first issue that takes its time to build the world around it. It’s a fine introduction to fans new and old to the property and nails the tone of the main character. However, it’s far from anything new. The real treat is to see how well Christopher Sebela’s style compliments this world. With future issues taking us into the great unknown of this crazy and fucked up version of the United States, I have no doubt this book will become legendary. As it stands it’s merely a heavy-handed reminder of a movie I loved. But one things for sure, “Escape from New York” will kick your ass out of the world.
“Five Ghosts” #14 is a fantastically paced piece of pulp that introduces new characters, puts old favorites through hell, and pushes us somewhere I never thought we’d go. It’s the perfect example of how well Frank J Barbiere and Chris Mooneyham work together, their collaboration is poetic, and the results are thrilling.
WRITTEN BY: Frank J Barbiere
ART BY: Chris Mooneyham
RELEASE: Dec 3, 2014
It often feels like far too long of a wait between issues of “Five Ghosts.” This is thanks to the issues reading like silk. The pacing is always on point, and Barbiere’s scripting methods remind me a lot of Rick Remender. There is only the pure cream of the storytelling here, and just when you think you know where you’re going, Frank takes the issue off the side of a metaphorical cliff, forcing you to rethink everything.
This month we’re introduced to Van Helsing, he’s perfectly at home in this world, and beside Fabian he is incredible. The two make fantastic allies. There is a particular scene in the middle of this issue that shows the two heroes back to back. It’s thrilling, but a little foreboding. Van Helsing is a hunter, he’s no-nonsense, and you can already tell he won’t stand for Fabian’s shit.
So after his awesome display of skill and power the fight ends with a nice twist. Fabian is “turned” by a vampire. Now, I’m only guessing here, but it seems Fabian is about to have his ass handed to him as he submits to the power of the vampire. He might easily become the villain of this arc, if we shift focus to Van Helsing.
Right now, I hope that’s the case. Since the mysterious masked villain from last issue rears he’s awesomely cool head once more. Except he’s spitting on the nose dialogue and feels like a mustache twirling moron who’s just tied Fabian to the train tracks. I know “Five Ghosts” is capable of more, and right now this masked guy isn’t doing it for me. The horror of the story should be two-fold we’ve got the genuine loss of control, but where is the thing that inspires terror?
Chris Mooneyham… I’ve yet to find the right hyperbole to explain how incredible his work on this series really is. Every single time I think he’s outdone himself he does it again. This issue has a phenomenal two page spread that shows scope and action all in one. While his fight scenes are awe-inspiring. I could watch Fabian and Van Helsing fight the undead all day.
“Five Ghosts” constantly revives the pulp genre in new and fascinating ways each month. It reads like the work of creators with decades of experience, but establishes itself as uniquely contemporary. It’s a joy to read each month, and while this issue is a little light on the horror, and little heavy on the action, it’s still a damn good comic. Seriously, you won’t find better value for your $3.50.
A heart-pounding rollercoaster ride, “Wolf Moon” #1 lets loose on the bloodlust found in the lycanthropy lore. This is an unflinching look at the hairy creatures who howl at the full moon. The “Wolf Moon” series delivers a promising introduction with such intensity, I cannot wait to get my hands on the second issue.
WRITTEN BY: Cullen Bunn
ART BY: Jeremy Haun
PUBLISHER: Vertigo Comics
RELEASE: December 3, 2014
Reviewed By Jorge Solis
Dillon has been haunted every night by the deaths of his hunter pack. Though they were well-armed, nothing could have prepared them for the bloodthirsty and savage beast waiting for them. Though Dillon survived, he has been scarred physically and must always live with that reminder that he failed his friends. Because the lunar cycle is almost coming to an end, Dillon is up against time itself to find his friend’s murderer.
Writer Cullen Bunn takes an interesting twist on the werewolf mythology, removing the “curse” aspect. Instead, the werewolf is a more of a symptom to an ever-spreading disease. Dillon, the hunter, is more interested in finding a cure to the disease, than putting the monster out of its misery. Bunn uses Dillon’s narration to voice the everyman’s internal conflict to explain the extraordinary.
The werewolf transformation is still painful to the human host before and after. Bunn portrays the host as a victim and the wolf itself as thrill-seeker. Plus the human host has to vomit the people he ate as a werewolf afterwards. Those gagging scenes are jaw-dropping, but I’m really glad that Bunn explained that course of actio;, instead of being gross for gore’s sake.
Artist Jeremy Haun goes to the max when it comes down to graphic violence. In an extreme close-up, Haun illustrates the wolf’s claws going through the man’s cheeks. Haun then kicks it up a notch, by drawing the fingers in the wolf’s fanged mouth. Notice how Haun also follows continuity, making sure there are always three marks on the side of Dillon’s face.
I enjoyed the vivid colors by Lee Loughridge in each panel. In a striking scene, Dillon attempts to run over the werewolf with his jeep. The tones are brightly yellow because the headlights are the main source. We then see the shape of the creature through its silhouette.
Off to a great start, “Wolf Moon” #1 oozes with bloody goodness. I really hope the second issue holds up to this intensity.
I’m running the risk of sounding like a broken record but “Nailbiter” #8 is another absolutely superb issue. This book is consistently outstanding and it shows no signs of slowing down anytime soon, which is a blessing.
WRITTEN BY: Joshua Williamson
ART BY: Mike Henderson
PUBLISHER: Image Comics
RELEASE: Dec 3, 2014
Reviewed By Torin Chambers
We’ve been with these people for 8 months now and it shows. We have an excellent sense of who these people are, what drives them, how they see themselves, and in turn how the world around them sees them back. Our care for their safety and wellbeing is at an all time high, which makes life or death situations altogether more immediate and visceral.
Williamson is on track to cover as many phobias as possible over the course of Nailbiter’s run. He’s done body horror, cannibalism, fire, stabbing, and now this month we’ve got bees thrown into the mix. That also means another potential serial killer/at the very least an incredibly unhinged individual. We open on a sight that should intimately familiar to any psychopaths out there: cutting off the wings and pulling out the stinger of a bee with an x-acto knife and tweezers.
Well at least it’s all set to the tender humming of “I’m bringing home my baby bumblebee,” that keeps it at a special level of unsettling. The especially cryptic dialogue that follows may initially come off as a madman’s ramblings but don’t take it lightly. There’re a couple other hints throughout the issue that make it almost sound like he’s really onto something. I’m sure we won’t understand the implications fully for some time.
This issue does an excellent job of juggling Finch and Crane in separate situations that don’t intersect. They’ve spent most of the series in more of a buddy cop capacity, so it’s super interesting to see them go about their own business. Finch especially because his scene would have gone down infinitely different if Crane was present. Without Crane to act as a moral compass of sorts for Finch, he’s free to dig even harder and get his hands dirty. Warren also gets a lovely moment this issue but that’s his extent of involvement.
“Nailbiter” is the pinnacle of horror in comics right now, it’s also a tense thriller, an emotional drama and it’s got a wicked sense of humor. The complete package any way you look at it, even under a tree this holiday season.
Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter @TorinsChambers
The Terminator Genisys trailer doesn’t arrive until tomorrow, but right now we have some footage from it. It’s both spectacular and disappointing. How? Well, take a look at the CGI-heavy sequence as depicted above (see an opposing scene from T2 below). Really? It’s totally unnecessary. It looks like the T-100 arm is coming out of Arnold’s stomach.
Otherwise, I love the aesthetics of the footage, and the epic tease of the T-1000′s return!
Tune in this coming Thursday for the full trailer premiere to the latest Terminator sequel, in theaters July 1, 2015.
Alan Taylor shot the film in New Orleans. It stars Emilia Clarke (as Sarah Conner), Jai Courtney (as Kyle Reese) and Arnold Schwarzenegger (as a T-800), with Jason Clarke (as John Conner), Byung-hun Lee, Matt Smith, Aaron V. Williamson, Dayo Okeniyi and J.K. Simmons.
Why is the below gif so much cooler? Well, because the arm was real. Physical effects will always look better.
“Robocop” #6 favors exposition over action and focuses in on clearing up some plot elements that have been somewhat vague up until this point. Knowing me you might expect rejection or disdain for a lack of bloodsport, but I actually welcome the detail. Unexpectedly, I found some depth and proper motive has been provided to Killian. The picture gets a bit bigger, but its still a picture of a robot punching a crack heads eye out.
WRITTEN BY: Joshua Williamson
ART BY: Carlos Magno
RELEASE: December 3, 2014
Reviewed by Eric Switzer
As much as I love the upgraded (both in function and in shit-talking) enforcement droids, I think my favorite thing about them is how everyone says their entire model number aloud when referring to it: “Hey, ED-2000x show Robocop your new toys!”, “You did good today ED-2000x”. There is no cutesie abbreviation or anything, say that outloud and try not to sound ridiculous.
Regardless, more robots with attitudes is always a good thing. Robocop himself is also getting an upgrade. Yes soon Robocop will have the ability to run, he is being upgraded to the Joel Kinnaman model, or JK-4000§. (The “§” means you make a fart sound in your armpit)
Killian’s plan becomes clear here and I won’t spoil it but when I read it I gave a little nod and thought “I’d buy that for a dollar.” The reveal doesn’t drastically change what the book is but it pulls things into focus in a way I think it needed. “Robocop” may be staunchly escapist reading, but everyone can appreciate good story telling.
I’m not certain what to make of Lewis and the dinner party, it sort of comes across as foreshadowing mixed with the introduction of an important character. It was effective, but it seemed to go on a little too long.
“Robocop” is consistently killer and shows no signs of stopping. Everything I have said about it tonally and artistically remains true through each and every issue. There are ebs and flows to the action but the book is never boring, and never drags. It makes me yearn for more Robocop, and I think that is just about the best thing that can be said about any series.
Eric Switzer is an aspiring filmmaker and screenplay writer living in Los Angeles. His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality. He can be found on twitter @epicswitzer or reached via email at email@example.com.
“Ghost Fleet” is back for round two and it’s a knockout. Issue #1 intrigued me, a comic about big trucks goin’ fast and smashing shit on the surface but with the glimmers of something deeper. That something deeper is what issue #2 opens with and now it’s got me hook line and sinker. The mysteries are boundless and my questions are counting up to immeasurable levels. However, this never feels cheap or lazy, it’s a deep seeded mystery that becomes exponentially more exciting with every teenie-tiny tidbit and kernel of information.
ART BY: Daniel Warren Johnson
PUBLISHER: Dark Horse
RELEASE: December 3, 2014
Reviewed By Torin Chambers
The opening scene alone has so much new information and new mysteries it’s almost staggering when you really think about it. I’m not even sure where to begin. A Senator named Roland Cohle walks down an industrial looking hall, wearing a red hooded cloak. He comes to a wooden door with an incredible design, it looks like something HP Lovecraft would think up, that doesn’t fit in with its surroundings. Possibly the facility was built around it?
Next to the door is a fingerprint analyzer that Cohle must use to gain access to “The Silhouette,” an ominous backdoor shady government cult name if ever there was one. Things only escalate exponentially from here. The room contains a raised platform, surrounded by a small lake of what looks like blood. On this platform there are numerous others dressed like Cohle sitting around a fire with a few armed guards overlooking them. On top of all that there’s a massive carving of what appears to be an owl overseeing everything in the room, their God/Master?
All of that happens in the first 3 pages, I can never stop reading Ghost Fleet now until I know what that was all about. Not that I wouldn’t read it regardless, you could take away all the intrigue and you’ve still got genuinely funny humor and balls to the wall action. Ghost Fleet is definitive proof that you can have stupid fun and tell a complex, absorbing story all at the same time.
Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter @TorinsChambers
Director Troy Morgan has uploaded a fascinating short film entitled Musical Recordings From the Realm of the Dead that follows a requiem as it travels through a musical telegraph, a device that is meant to transmit musical tones through telegraph wires.
The synopsis reads:
Four separate individuals at the dawn of wireless technology become accidental collaborators in a musical composition that is pieced together through radio waves.
It’s a fascinating film that, at just over five minutes long, is well worth watching. Plus, the vast majority is done via stop motion, so if you’re into that it’s right up your alley.
The official plot details have been revealed for FOX’s new The Fantastic Four, and sites are butchering the filmmakers for it.
Frankly, I think the “Ultimate Fantastic Four” storyline was awesome, and am excited to see this new universe with its new origin play out.
Here’s the synopsis:
THE FANTASTIC FOUR, a contemporary re-imagining of Marvel’s original and longest-running superhero team, centers on four young outsiders who teleport to an alternate and dangerous universe, which alters their physical form in shocking ways. Their lives irrevocably upended, the team must learn to harness their daunting new abilities and work together to save Earth from a former friend turned enemy.
In theaters August 7, 2015, the pic stars the incredibly underrated Michael B. Jordan as Johnny Storm, Kate Mara as Sue Storm, Miles Teller as Reed Richards and Jamie Bell as Ben Grimm.
It should also be noted that Josh Trank of Chronicle fame directed this pic, which is definitely going to be FX intensive. I loved what Trank did with Chronicle, especiallyy the film’s finale. Imagine what he’ll be able to do with the third act (if it’s similar to the comic) as the FF battle Doom!
Personally, I just love that the new FF is grounded in reality.