Sabtu, 30 November 2019
American Mary (3 Stars)
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This is my 20th and probably my last horror film in November 2019. It will probably be a while before I watch another horror film. I have nothing against horror films, if they're well made, but I'm not a horror film fan. I think you know what I mean.
When I watched "American Mary" six years ago I didn't expect to watch it again. I even offered to give away my DVD, but nobody wanted it. Something about it has haunted me ever since. While watching it I felt violated, but I couldn't get the imagery out of my mind.
Before carrying on, read what I wrote about it six years ago. That review contains a plot summary, which I won't repeat here.
I still have problems with the film, but I've raised the rating to three stars. It's not an awful film, far from it. It's very artistic, even if I find many of the images distasteful. It features a strong woman, and I always like films about strong women. There have been other rape'n'revenge films, but there's never been a film in which the revenge goes so far. Mary is strong. Mary is beautiful. Mary is deranged. Everyone in the club where she works is scared of her. When she walks into the bathroom the other women flee. Even the club owner, Billy, is terrified of her, but he can't resist her. He fantasises about her killing him. Didn't Valerie Solanas say that all men have a death fetish? What she meant was that the sexual act involves the woman devouring the man's body, swallowing it up, but some men have a more explicit death fetish.
The film demythologises the surgeon profession. What I mean is, there are certain careers that are held in high esteem, or at least they used to be. Maybe their glamour has been eroded in the last 50 years. The highest career that people look up to is airline pilot, followed by doctors and teachers. It used to be that a character recommendation from any of these people would be accepted as support for a job application.
The film shatters the myth that surgeons are something special. At work they save lives, but after work they're abusive perverts and sexual sadists.
The writers and directors of the film are the Twisted Twins, Jen and Sylvia Soska. They play twins in the film. They don't want to be separated, even if one of them dies before the other, so they pay for Mary's unique services. They each have their left arm amputated and attached to one another. That's real sisterly love.
The problems that I have with the film are my own sensibilities. I don't like films which feature medical operations. They're too realistic. I'd rather see a head being chopped off and flying through the room. I don't like body modifications, and I don't even like piercings. "American Mary" combines all the things that I find repulsive. That makes it a good horror film.
This is my 20th and probably my last horror film in November 2019. It will probably be a while before I watch another horror film. I have nothing against horror films, if they're well made, but I'm not a horror film fan. I think you know what I mean.
When I watched "American Mary" six years ago I didn't expect to watch it again. I even offered to give away my DVD, but nobody wanted it. Something about it has haunted me ever since. While watching it I felt violated, but I couldn't get the imagery out of my mind.
Before carrying on, read what I wrote about it six years ago. That review contains a plot summary, which I won't repeat here.
I still have problems with the film, but I've raised the rating to three stars. It's not an awful film, far from it. It's very artistic, even if I find many of the images distasteful. It features a strong woman, and I always like films about strong women. There have been other rape'n'revenge films, but there's never been a film in which the revenge goes so far. Mary is strong. Mary is beautiful. Mary is deranged. Everyone in the club where she works is scared of her. When she walks into the bathroom the other women flee. Even the club owner, Billy, is terrified of her, but he can't resist her. He fantasises about her killing him. Didn't Valerie Solanas say that all men have a death fetish? What she meant was that the sexual act involves the woman devouring the man's body, swallowing it up, but some men have a more explicit death fetish.
The film demythologises the surgeon profession. What I mean is, there are certain careers that are held in high esteem, or at least they used to be. Maybe their glamour has been eroded in the last 50 years. The highest career that people look up to is airline pilot, followed by doctors and teachers. It used to be that a character recommendation from any of these people would be accepted as support for a job application.
The film shatters the myth that surgeons are something special. At work they save lives, but after work they're abusive perverts and sexual sadists.
The writers and directors of the film are the Twisted Twins, Jen and Sylvia Soska. They play twins in the film. They don't want to be separated, even if one of them dies before the other, so they pay for Mary's unique services. They each have their left arm amputated and attached to one another. That's real sisterly love.
The problems that I have with the film are my own sensibilities. I don't like films which feature medical operations. They're too realistic. I'd rather see a head being chopped off and flying through the room. I don't like body modifications, and I don't even like piercings. "American Mary" combines all the things that I find repulsive. That makes it a good horror film.
 |
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Review of KNIVES OUT: Confounding Conundrum
Watch Movies TV - December 1, 2019
I grew up enjoying those Agatha Christie murder mystery movies like "Murder on the Orient Express" (1974 and 2017) and "Death on the Nile" (1978) and other similar themed films, like "Last of Sheila" (1973), "Clue" (1985), "Gosford Park" (2001) and even "Murder Mystery" (2019). The elements of the plot are generally similar. Someone is murdered in a confined place. Everyone there had a credible motive, so whodunit?
Millionaire mystery writer Harlan Thrombey gathered his family in his remote mansion to celebrate his 85th birthday. In attendance were his centenarian mother Wanetta, eldest daughter Linda (with her husband Richard Drysdale and son Hugh Ransom), son Walter (his wife Donna and son Jacob) and daughter-in-law Joni (with her daughter Meg). His personal nurse Marta Cabrera was also on hand to give him his nightly injections of ketorolac (high dose at 100 cmg!) and morphine.
The morning after the party, the housekeeper Fran discovered Harlan dead in his room with his neck slit. Aside from the local police, famous private detective Benoit Blanc had also been anonymously hired to investigate the case. While the initial cause of death was thought to be suicide, personal motives for wanting to kill Harlan among the family members crop up under questioning. After Harlan's will was read, the shocking provision of the will caused the tension of the situation to go into full chaos.
Daniel Craig played the Hercule Poirot-inspired private eye Benoit Blanc tongue-in-cheek with that affected Southern drawl, probably distinguish this character from his more famous character James Bond. Every actor in the all-star cast -- Jamie Lee Curtis (as Linda), Don Johnson (as Richard), Chris Evans (as Ransom), Michael Shannon (as Walt), Toni Collette (as Joni) and Christopher Plummer (as Harlan) -- were hamming it up like crazy, it was a lot of fun to watch. Caught in the middle of all that family madness was Ana de Armas as the mousy nurse Marta (whose country of origin changed every time it was brought up). Muppet and Yoda meister Frank Oz appeared in a cameo as Harlan's attorney.
With obvious reverence to Dame Agatha Christie, writer-director Rian Johnson has crafted a neat little mystery that got more and more complicated along the way. Despite knowing beforehand some inside information that even Detective Blanc did not know yet, the viewer will still keep on guessing whodunit right up to the final revelation of the full solution. While the cast played it up in high camp fashion for entertaining effect, Johnson unraveled his mystery story masterfully, with suspense and logic fully intact. 8/10.
I grew up enjoying those Agatha Christie murder mystery movies like "Murder on the Orient Express" (1974 and 2017) and "Death on the Nile" (1978) and other similar themed films, like "Last of Sheila" (1973), "Clue" (1985), "Gosford Park" (2001) and even "Murder Mystery" (2019). The elements of the plot are generally similar. Someone is murdered in a confined place. Everyone there had a credible motive, so whodunit?
Millionaire mystery writer Harlan Thrombey gathered his family in his remote mansion to celebrate his 85th birthday. In attendance were his centenarian mother Wanetta, eldest daughter Linda (with her husband Richard Drysdale and son Hugh Ransom), son Walter (his wife Donna and son Jacob) and daughter-in-law Joni (with her daughter Meg). His personal nurse Marta Cabrera was also on hand to give him his nightly injections of ketorolac (high dose at 100 cmg!) and morphine.
The morning after the party, the housekeeper Fran discovered Harlan dead in his room with his neck slit. Aside from the local police, famous private detective Benoit Blanc had also been anonymously hired to investigate the case. While the initial cause of death was thought to be suicide, personal motives for wanting to kill Harlan among the family members crop up under questioning. After Harlan's will was read, the shocking provision of the will caused the tension of the situation to go into full chaos.
Daniel Craig played the Hercule Poirot-inspired private eye Benoit Blanc tongue-in-cheek with that affected Southern drawl, probably distinguish this character from his more famous character James Bond. Every actor in the all-star cast -- Jamie Lee Curtis (as Linda), Don Johnson (as Richard), Chris Evans (as Ransom), Michael Shannon (as Walt), Toni Collette (as Joni) and Christopher Plummer (as Harlan) -- were hamming it up like crazy, it was a lot of fun to watch. Caught in the middle of all that family madness was Ana de Armas as the mousy nurse Marta (whose country of origin changed every time it was brought up). Muppet and Yoda meister Frank Oz appeared in a cameo as Harlan's attorney.
With obvious reverence to Dame Agatha Christie, writer-director Rian Johnson has crafted a neat little mystery that got more and more complicated along the way. Despite knowing beforehand some inside information that even Detective Blanc did not know yet, the viewer will still keep on guessing whodunit right up to the final revelation of the full solution. While the cast played it up in high camp fashion for entertaining effect, Johnson unraveled his mystery story masterfully, with suspense and logic fully intact. 8/10.
Girl Week 2019: 10 Gorgeous Movies Shot by Women
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Welcome to Day 6 of Girl Week. If you're not a cinephile, and even if you are, you might not ever think about who the cinematographer is while watching a movie. Lord knows how many times I've been watching a film and remarked to myself how great a shot is, or even a bunch of shots, but never bother finding out who is responsible for it. Combine that with my very basic knowledge that year after year the Oscar nominees for cinematography are almost always men and it doesn't always occur to me that a woman might be the provider of the great imagery I'm seeing. Well, I did a bit of research. Below are a number of aesthetically pleasing movies that had female director of photographer (DP). No, I won't comment on them. I'm not technically advanced enough to do that. As Mama Dell used to tell me, "It's better to be quiet and thought a fool than to open your mouth and prove it." I just know what I like, so let's get to it.
Welcome to Day 6 of Girl Week. If you're not a cinephile, and even if you are, you might not ever think about who the cinematographer is while watching a movie. Lord knows how many times I've been watching a film and remarked to myself how great a shot is, or even a bunch of shots, but never bother finding out who is responsible for it. Combine that with my very basic knowledge that year after year the Oscar nominees for cinematography are almost always men and it doesn't always occur to me that a woman might be the provider of the great imagery I'm seeing. Well, I did a bit of research. Below are a number of aesthetically pleasing movies that had female director of photographer (DP). No, I won't comment on them. I'm not technically advanced enough to do that. As Mama Dell used to tell me, "It's better to be quiet and thought a fool than to open your mouth and prove it." I just know what I like, so let's get to it.
Eternal Sunshine of the Spotless Mind
(2004)
DP: Ellen Kuras
Hustle & Flow
(2005)
DP: Amy Vincent
Girlhood
(2014)
DP: Crystel Fournier
Beyond the Lights
(2014)
DP: Tami Reiker
Creed
(2015)
DP: Maryse Alberti
The Neon Demon
(2016)
DP: Natasha Braier
Hidden Figures
(2016)
DP: Mandy Walker
Catfight
(2016)
DP: Zoe White
Mudbound
(2017)
DP: Rachel Morrison
A Quiet Place
(2018)
DP: Charlotte Bruus Christensen
Day 5 Entries
The Rotting Zombie's Round-up of Horror News for November
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A short introduction to this months round-up of horror news as I appear to have quite a bit to get through. I am expecting some turbulent times to be upcoming in my life in the near future so this is the calm before the storm, will see how the next few months pan out. Anyway, onto the news...
Not so much news, more designed as a way to bring potential customers to a car website is the Zombia 3000. This is an advert for a fake car that could help you survive the inevitable zombie apocalypse. I've mentioned it here though as the advert goes into quite some detail. Including a break down of exterior features (such as plough attachment), and interior features (CB radio) this was a fun little article. Check it out for yourself here if you so wish.
Just over a year ago I reviewed Alex Noyer's excellent short horror film Conductor, which was about a very special type of music device. Well some good news in that this is going to be adapted into a feature length thriller in what will be Noyer's first full length directorial debut. Starring Jasmin Savoy Brown, Lili Simmons and James Jagger the film is to be about a formerly deaf woman who somehow gained synesthetic abilities after witnessing the murder of her family as a child. She now uses these abilities in a career in music, 'composing her masterpiece through gruesome murders'.
Terror Films have announced some of the films being released as part of their 2020 line-up. There are too many to go into detail on but so far the films announced are Red Letters, All the Wrong Friends, Serena Waits, The Torment of Laurie Ann Cullom, Dark Roads 79, Tropical Vampires, The Evil Rises, A Knight's Tour, Derelicts, 10/31, Still Life, The Bone Box and Irrational Fear.
I've mentioned the clown killer horror Kill Giggles before but now it has a trailer. Apparently inspired by director/writer Jaysen Buterin's fear of clowns this is about a serial killer who only targets them. It stars Michael Ray Williams as clown killer Tommy dos Santos along with Ellie Church (High on the Hog), Vernon Wells (Mad Max), Felissa Rose (Sleepaway Camp) and Judith O'Dea (Night of the Living Dead).
November 8th saw Indican Pictures Ballet Blanc come to theatres. Anne-Sophie Dutoit's film centres on a young boy abandoned by his ballet troupe, who sets out on a reign of terror in the town he was left in. Ballet Blanc is due to be released on DVD and Digital platforms January 2020.
Richard Tyson (Black Hawk Down), Harley Wallen, Naomi Grossman (American Horror Story), Maria Olsen (I Spit on Your Grave), Mel Novak (Bruce Lee's Game of Death) and Vernon Wells (Weird Science) are all set to appear in upcoming indie horror drama film The Initiation. In this movie Professor Daniel Kimmer discovers an ex-student he is having an affair with is actually a member of a secret society of feminist witches.
Hex Studios are going to release a limited edition of festival hit Here Comes Hell. Described as 'The Old House' meets 'The Evil Dead' this is a horror comedy homage to classic horror films. Jack McHenry's directorial debut is filmed in black and white and is about a group of 1930's socialites who accidentally open a gateway to Hell during a dinner party event at a dilapidated mansion. It certainly sounds interesting. This limited DVD release includes a commentary as well as a behind the scenes documentary. It can be preordered here.
German zombie film The Rise of Valhalla is now out on DVD, Blu-Ray and Digital. I first mentioned this way back in 2014 so is good to see it has came out. The film looks to be set during World War II and has Nazi soldiers battling undead vikings.
Roberto D'Antona's The Last Heroes is out on Amazon Prime Video. This Italian horror is about a group of friends meeting in a small town where they once shared a terrible secret. Together they discover the ancient curse of Kaisha. The film can be found here.
I have already reviewed The Pale Faced Lady and She Will Return, and now the third chapter in Jeff Payne's well edited series has been announced. Short film In Darkness I Wait is meant to be 'a rollercoaster ride of tension of scares'. Part 3 follows two people who head into the notorious house in order to burn it down, unaware of the horrors within. It sounds like this could possibly be the final film in what has been an entertaining series.
The final film news for this month is a trailer for new horror/sci-fi/thriller mystery film Twenty Twenty. This was written, directed and produced by Dave Sweeny (Deranged Foxhole) and stars Nicholas M. Garofolo (Deranged Foxhole, Sweet Revenge). In this one a man struggles to figure out what's real or not. He encounters such characters as Terranova, who claims she is from the man's future, as well as a Mystery Woman, his landlady Mary Lee, and Old Man.
Onto music news now, firstly heavy rock artist Emma Garell has released the music video for her new single Crawl. This was directed by Cody Mausolf of The Liquor Portal and is available now via The Label Group/ INgrooves.
Hungarian punk/rock/metal band The Hellfreaks have released the video for the 2nd single 'Red Sky' from their upcoming album God on the Run. The band say the song "is about the seed of change, it's about the nature of pain." The new album can be pre-ordered here.
Synthwave trio 3force have created a reimagining of Once, There Was An Explosion which is the theme for the new science fiction game Death Stranding (that I would quite like to play if I had the funds!). The track has been described as 'a captivating piece of futuristic terror that will keep listeners riveted to their speakers'. The track is available now through independent synthwave label FiXT Neon.
While this next bit of news isn't strictly horror related I'm mentioning it as it is related to Peter Ricq who was the director/score composer/creator/co-writer of the criminally underrated horror Dead Shack (go watch it, it's great!). Anyway, he is working on a graphic novel titled A King's Vengeance. The story is about a King who gets resurrected 25 years after he dies in order to avenge his family's death. It has been described as 'a steampunk, medieval, fantasy, adventure, and violent revenge story' with influences cited as Conan the Barbarian, Robocop, GOT and Hellboy. There is currently a Kickstarter campaign going to raise funds to produce a high-end quality hardcover book. There is currently 13 days left of the campaign, so to find out more details check it out here.
A short introduction to this months round-up of horror news as I appear to have quite a bit to get through. I am expecting some turbulent times to be upcoming in my life in the near future so this is the calm before the storm, will see how the next few months pan out. Anyway, onto the news...
Not so much news, more designed as a way to bring potential customers to a car website is the Zombia 3000. This is an advert for a fake car that could help you survive the inevitable zombie apocalypse. I've mentioned it here though as the advert goes into quite some detail. Including a break down of exterior features (such as plough attachment), and interior features (CB radio) this was a fun little article. Check it out for yourself here if you so wish.
Just over a year ago I reviewed Alex Noyer's excellent short horror film Conductor, which was about a very special type of music device. Well some good news in that this is going to be adapted into a feature length thriller in what will be Noyer's first full length directorial debut. Starring Jasmin Savoy Brown, Lili Simmons and James Jagger the film is to be about a formerly deaf woman who somehow gained synesthetic abilities after witnessing the murder of her family as a child. She now uses these abilities in a career in music, 'composing her masterpiece through gruesome murders'.
Terror Films have announced some of the films being released as part of their 2020 line-up. There are too many to go into detail on but so far the films announced are Red Letters, All the Wrong Friends, Serena Waits, The Torment of Laurie Ann Cullom, Dark Roads 79, Tropical Vampires, The Evil Rises, A Knight's Tour, Derelicts, 10/31, Still Life, The Bone Box and Irrational Fear.
I've mentioned the clown killer horror Kill Giggles before but now it has a trailer. Apparently inspired by director/writer Jaysen Buterin's fear of clowns this is about a serial killer who only targets them. It stars Michael Ray Williams as clown killer Tommy dos Santos along with Ellie Church (High on the Hog), Vernon Wells (Mad Max), Felissa Rose (Sleepaway Camp) and Judith O'Dea (Night of the Living Dead).
November 8th saw Indican Pictures Ballet Blanc come to theatres. Anne-Sophie Dutoit's film centres on a young boy abandoned by his ballet troupe, who sets out on a reign of terror in the town he was left in. Ballet Blanc is due to be released on DVD and Digital platforms January 2020.
Richard Tyson (Black Hawk Down), Harley Wallen, Naomi Grossman (American Horror Story), Maria Olsen (I Spit on Your Grave), Mel Novak (Bruce Lee's Game of Death) and Vernon Wells (Weird Science) are all set to appear in upcoming indie horror drama film The Initiation. In this movie Professor Daniel Kimmer discovers an ex-student he is having an affair with is actually a member of a secret society of feminist witches.
Hex Studios are going to release a limited edition of festival hit Here Comes Hell. Described as 'The Old House' meets 'The Evil Dead' this is a horror comedy homage to classic horror films. Jack McHenry's directorial debut is filmed in black and white and is about a group of 1930's socialites who accidentally open a gateway to Hell during a dinner party event at a dilapidated mansion. It certainly sounds interesting. This limited DVD release includes a commentary as well as a behind the scenes documentary. It can be preordered here.
German zombie film The Rise of Valhalla is now out on DVD, Blu-Ray and Digital. I first mentioned this way back in 2014 so is good to see it has came out. The film looks to be set during World War II and has Nazi soldiers battling undead vikings.
Roberto D'Antona's The Last Heroes is out on Amazon Prime Video. This Italian horror is about a group of friends meeting in a small town where they once shared a terrible secret. Together they discover the ancient curse of Kaisha. The film can be found here.
I have already reviewed The Pale Faced Lady and She Will Return, and now the third chapter in Jeff Payne's well edited series has been announced. Short film In Darkness I Wait is meant to be 'a rollercoaster ride of tension of scares'. Part 3 follows two people who head into the notorious house in order to burn it down, unaware of the horrors within. It sounds like this could possibly be the final film in what has been an entertaining series.
The final film news for this month is a trailer for new horror/sci-fi/thriller mystery film Twenty Twenty. This was written, directed and produced by Dave Sweeny (Deranged Foxhole) and stars Nicholas M. Garofolo (Deranged Foxhole, Sweet Revenge). In this one a man struggles to figure out what's real or not. He encounters such characters as Terranova, who claims she is from the man's future, as well as a Mystery Woman, his landlady Mary Lee, and Old Man.
Onto music news now, firstly heavy rock artist Emma Garell has released the music video for her new single Crawl. This was directed by Cody Mausolf of The Liquor Portal and is available now via The Label Group/ INgrooves.
Hungarian punk/rock/metal band The Hellfreaks have released the video for the 2nd single 'Red Sky' from their upcoming album God on the Run. The band say the song "is about the seed of change, it's about the nature of pain." The new album can be pre-ordered here.
Synthwave trio 3force have created a reimagining of Once, There Was An Explosion which is the theme for the new science fiction game Death Stranding (that I would quite like to play if I had the funds!). The track has been described as 'a captivating piece of futuristic terror that will keep listeners riveted to their speakers'. The track is available now through independent synthwave label FiXT Neon.
While this next bit of news isn't strictly horror related I'm mentioning it as it is related to Peter Ricq who was the director/score composer/creator/co-writer of the criminally underrated horror Dead Shack (go watch it, it's great!). Anyway, he is working on a graphic novel titled A King's Vengeance. The story is about a King who gets resurrected 25 years after he dies in order to avenge his family's death. It has been described as 'a steampunk, medieval, fantasy, adventure, and violent revenge story' with influences cited as Conan the Barbarian, Robocop, GOT and Hellboy. There is currently a Kickstarter campaign going to raise funds to produce a high-end quality hardcover book. There is currently 13 days left of the campaign, so to find out more details check it out here.
The Irishman
Watch Movies TV -(MA15+) ★★★★
Director: Martin Scorsese.
Cast: Robert De Niro, Al Pacino, Joe Pesci, Ray Romano, Bobby Cannavale, Anna Paquin, Lucy Gallina, Stephen Graham, Harvey Keitel, Stephanie Kurtzuba, Kathrine Narducci, Welker White, Jesse Plemons, Louis Cancelmi.
After the Coen Brothers dared to stream last year with The Ballad Of Buster Scruggs, the floodgates were officially opened for Big Name Directors to start flooding into Netflix. With sweet, sweet cash and unparalleled artistic freedom on the hook, the opportunity was too good for Martin Scorsese to pass up. The streaming giant had caught a big one, perhaps the biggest one of all.
For Scorsese, this was an opportunity to realise his and De Niro's long-held dream of adapting Charles Brandt's biography of mob hitman Frank Sheeran. The film had sat in various levels of development hell for over a decade, but Netflix were willing to throw a remarkable US$170m+ at the project - the biggest budget drama in a long time.
Will it be worth it for Netflix? In money terms, it remains to be seen, but in artistic terms, it's money well spent. The Irishman is familiar territory for Scorsese, harking back to his sweeping mobster epics Goodfellas and Casino. It's just as compelling as those two classics, if a bit slower and more languid in its approach.
Sheeran (played across many decades by a CG de-aged De Niro) is a WWII veteran and meat truck driver who finds himself doing favours for the mob in Philadelphia. Soon he's their go-to hitman, as well as be a good friend and confidante for union boss Jimmy Hoffa (Pacino). He suddenly finds himself as a key player in some big moments in history, like Forrest Gump with a revolver.
There are a lot of reasons to recommend this film, but the main ones can be summarised in surnames - Scorsese. De Niro. Pacino. Pesci. This quadruple threat works wonders, wringing every ounce of drama and quiet menace from the material.
Scorsese is remarkably consistent director, even when he's trying new things. With The Irishman, it feels a little like just another day at the office for the legendary director, but the passion is evident. It's like when a band goes "back to basics" and pulls it off. This is familiar territory, but he's not being lazy about it. His trademarks are present - the bravura long takes, the veritas he brings to mob life, the cool soundtrack, the offbeat hints of humour - but he's finding new tricks for telling old stories with his use of the de-ageing CG, which looks incredible as often as it visits uncanny valley.
For his top-billed stars though, this is a return to form. De Niro has been good in great films on occasion over the past decade (Silver Linings Playbook, American Hustle, Joker) but here he's on song like he hasn't been in since the '90s. Likewise for Pacino, who gets to chew scenery as per usual but also dials things down when he needs to.
But both are outmatched by Pesci as mob boss Russell Buffalino. In only his second major onscreen role in over 20 years, Pesci shows he's lost nothing in retirement. His is the quieter of the three main roles, but it demonstrates a rarely seen side of Pesci - one of understatement. There are no fiery bursts of anger that one might expect from Pesci in a Scorsese film - this is subdued command and confidence. It's about the way he leans on words and phrases, the weight he puts into a look. It's a great turn, one of his best.
All three get a lot out of the material, with the screenplay from Steven Zaillian giving them great lines and scenes. His script also lets the story breathe, and while clocking in at three and a half hours might be pushing the friendship, almost every part of the film, in hindsight, feels necessary. As slow and as sprawling as it can be, there's no point where you feel like you want to switch off, and across its last hour and a half, it's unmissable.
Its length, pace and sprawl are little off-putting, and stacked up against its older brothers of Goodfellas and Casino, it's less definitive, less vital. But The Irishman shows us many things - it shows that on their day, De Niro, Pacino and Pesci have still got it. And as for Scorsese... well, he never lost it.
Director: Martin Scorsese.
Cast: Robert De Niro, Al Pacino, Joe Pesci, Ray Romano, Bobby Cannavale, Anna Paquin, Lucy Gallina, Stephen Graham, Harvey Keitel, Stephanie Kurtzuba, Kathrine Narducci, Welker White, Jesse Plemons, Louis Cancelmi.
 |
| "And then I said, 'Rocky and Buckwinkle? Fuck yeah I'm in'." |
For Scorsese, this was an opportunity to realise his and De Niro's long-held dream of adapting Charles Brandt's biography of mob hitman Frank Sheeran. The film had sat in various levels of development hell for over a decade, but Netflix were willing to throw a remarkable US$170m+ at the project - the biggest budget drama in a long time.
Will it be worth it for Netflix? In money terms, it remains to be seen, but in artistic terms, it's money well spent. The Irishman is familiar territory for Scorsese, harking back to his sweeping mobster epics Goodfellas and Casino. It's just as compelling as those two classics, if a bit slower and more languid in its approach.
Sheeran (played across many decades by a CG de-aged De Niro) is a WWII veteran and meat truck driver who finds himself doing favours for the mob in Philadelphia. Soon he's their go-to hitman, as well as be a good friend and confidante for union boss Jimmy Hoffa (Pacino). He suddenly finds himself as a key player in some big moments in history, like Forrest Gump with a revolver.
There are a lot of reasons to recommend this film, but the main ones can be summarised in surnames - Scorsese. De Niro. Pacino. Pesci. This quadruple threat works wonders, wringing every ounce of drama and quiet menace from the material.
Scorsese is remarkably consistent director, even when he's trying new things. With The Irishman, it feels a little like just another day at the office for the legendary director, but the passion is evident. It's like when a band goes "back to basics" and pulls it off. This is familiar territory, but he's not being lazy about it. His trademarks are present - the bravura long takes, the veritas he brings to mob life, the cool soundtrack, the offbeat hints of humour - but he's finding new tricks for telling old stories with his use of the de-ageing CG, which looks incredible as often as it visits uncanny valley.
For his top-billed stars though, this is a return to form. De Niro has been good in great films on occasion over the past decade (Silver Linings Playbook, American Hustle, Joker) but here he's on song like he hasn't been in since the '90s. Likewise for Pacino, who gets to chew scenery as per usual but also dials things down when he needs to.
But both are outmatched by Pesci as mob boss Russell Buffalino. In only his second major onscreen role in over 20 years, Pesci shows he's lost nothing in retirement. His is the quieter of the three main roles, but it demonstrates a rarely seen side of Pesci - one of understatement. There are no fiery bursts of anger that one might expect from Pesci in a Scorsese film - this is subdued command and confidence. It's about the way he leans on words and phrases, the weight he puts into a look. It's a great turn, one of his best.
All three get a lot out of the material, with the screenplay from Steven Zaillian giving them great lines and scenes. His script also lets the story breathe, and while clocking in at three and a half hours might be pushing the friendship, almost every part of the film, in hindsight, feels necessary. As slow and as sprawling as it can be, there's no point where you feel like you want to switch off, and across its last hour and a half, it's unmissable.
Its length, pace and sprawl are little off-putting, and stacked up against its older brothers of Goodfellas and Casino, it's less definitive, less vital. But The Irishman shows us many things - it shows that on their day, De Niro, Pacino and Pesci have still got it. And as for Scorsese... well, he never lost it.
Jumat, 29 November 2019
C1 ORIGINALS 2019: Reviews of SILA-SILA and TIA MADRE
Watch Movies TV - November 30, 2019
SILA-SILA
Gabriel took off to work in Cagayan de Oro for a whole year, and never communicated with any of his friends back in Manila in that whole time. When he came back to Manila, a high school batch reunion made it necessary for Gabriel to reconnect with everyone he left behind, including his best friends Kev and Nicole, and his ex-boyfriend Jared. This reintegration process was not going to be easy for Gabriel.
The cast is composed mainly of theater actors. Gio Gahol was on the screen almost 100% of the time as Gabriel, and he never once lost his troubled character. Topper Fabregas felt as if he was being just himself and not really acting as he played the sensitive Jared. Phi Palmos came across naturally and sincerely as boisterous best friend Kev. Writer-director Dwein Baltazar now also adds actress to her resume, playing quirky girl Nicole. Adrienne Vergara was extraordinarily shrill as rich girl Linda. Boo Gabunada and Jasmin Curtis Smith were only seen in a single scene each, yet they certainly made their presence felt as a pothead driver and Jared's younger sister respectively.
Director Giancarlo Abrahan has an expertise with talky films about relationships. "Dagitab" was about the relationship of husband and wife. "Paki" was about elderly mother and her adult children. "Sila Sila" is the first film Abrahan directed which he did not write himself. This incisive and witty script was the first work by Daniel Saniana, and it won deservedly won him the Best Screenplay award. This film was a very frank depiction of a modern gay relationship. While its scenes of sexual nature may not be comfortable to everyone, the character flaws and the quirks tackled in this film can be seen in any relationship. 7/10.
*****
TIA MADRE
Camille Montenegro was 10 years old when her mother brought her back to their old ancestral house in the province. Her Mother was much older woman, probably in her fifties. She was disorganized, moody and depressed, rarely showing any affection for Camille, spending her days smoking, drinking or having a casual dalliance with a neighbor. Daughter harbored a dark obsession with enchanted creatures, a departed elder sister and a mysterious woman taking over her mother's person, which peaked with a violent outburst at school.
This was a dreadfully dismal movie as intended by writer-director Eve Baswel in her feature film debut. We are watching a mentally-unstable middle-aged woman wreak her terrible brand of abuse on her impressionable young daughter, and it was a very unnerving experience. There were several weird photography and soundtrack choices that give a surreal atmosphere. The horror here is psychological, so there was a blurring of boundaries of what was real, imagined or any version in between. Watching this can give you a headache in more ways than one -- brutal stuff.
Cherie Gil had been the archetypal villain in Philippine cinema since 1985 when she played bitchy Lavinia Arguelles and splashed the contents of that wine glass on virtuous Dorina Pineda's face. She totally deglamorized herself and went all out unhinged contravida in this latest role of hers as she wreaked torturous anguish on her child's vulnerable psyche. Now if that child had the adorable face of Jana Agoncillo, this mother's blatant neglect and was even more cruel and unforgivable. I hope Agoncillo was debriefed properly after portraying this traumatic role, a sadistic challenge to foist on any child. I do not think it was worth the potential psychological scars. 4/10.
SILA-SILA
The cast is composed mainly of theater actors. Gio Gahol was on the screen almost 100% of the time as Gabriel, and he never once lost his troubled character. Topper Fabregas felt as if he was being just himself and not really acting as he played the sensitive Jared. Phi Palmos came across naturally and sincerely as boisterous best friend Kev. Writer-director Dwein Baltazar now also adds actress to her resume, playing quirky girl Nicole. Adrienne Vergara was extraordinarily shrill as rich girl Linda. Boo Gabunada and Jasmin Curtis Smith were only seen in a single scene each, yet they certainly made their presence felt as a pothead driver and Jared's younger sister respectively.
Director Giancarlo Abrahan has an expertise with talky films about relationships. "Dagitab" was about the relationship of husband and wife. "Paki" was about elderly mother and her adult children. "Sila Sila" is the first film Abrahan directed which he did not write himself. This incisive and witty script was the first work by Daniel Saniana, and it won deservedly won him the Best Screenplay award. This film was a very frank depiction of a modern gay relationship. While its scenes of sexual nature may not be comfortable to everyone, the character flaws and the quirks tackled in this film can be seen in any relationship. 7/10.
*****
Camille Montenegro was 10 years old when her mother brought her back to their old ancestral house in the province. Her Mother was much older woman, probably in her fifties. She was disorganized, moody and depressed, rarely showing any affection for Camille, spending her days smoking, drinking or having a casual dalliance with a neighbor. Daughter harbored a dark obsession with enchanted creatures, a departed elder sister and a mysterious woman taking over her mother's person, which peaked with a violent outburst at school.
This was a dreadfully dismal movie as intended by writer-director Eve Baswel in her feature film debut. We are watching a mentally-unstable middle-aged woman wreak her terrible brand of abuse on her impressionable young daughter, and it was a very unnerving experience. There were several weird photography and soundtrack choices that give a surreal atmosphere. The horror here is psychological, so there was a blurring of boundaries of what was real, imagined or any version in between. Watching this can give you a headache in more ways than one -- brutal stuff.
Cherie Gil had been the archetypal villain in Philippine cinema since 1985 when she played bitchy Lavinia Arguelles and splashed the contents of that wine glass on virtuous Dorina Pineda's face. She totally deglamorized herself and went all out unhinged contravida in this latest role of hers as she wreaked torturous anguish on her child's vulnerable psyche. Now if that child had the adorable face of Jana Agoncillo, this mother's blatant neglect and was even more cruel and unforgivable. I hope Agoncillo was debriefed properly after portraying this traumatic role, a sadistic challenge to foist on any child. I do not think it was worth the potential psychological scars. 4/10.
Girl Week 2019: Assassination Nation
Watch Movies TV -
Day 5 of Girl Week 2019 got away from me, technically. However, I'm on the east coast in the U.S. You know what? It's still Day 5 on the west coast, so that's the time we're using. Don't look at me that way. Just go with it.
The film opens with a montage of trigger warnings that show brief scenes depicting topics including bullying, blood, abuse, classism, death, drinking, drug use, sexual content, toxic masculinity, homophobia, transphobia, guns, nationalism, racism, kidnapping, murder, attempted murder, the male gaze, giant frogs, sexism, swearing, torture, violence, gore, weapons, and fragile male egos. - Wikipedia.com
That blurb is quite literal, and immediately, the movie had me hooked. I had to see if what followed would live up to this amazing setup. We start finding out by meeting Lily (Young) and her three bestest buddies Bex (Nef), Em (Abra), and Sarah (Waterhouse). Those last two are sisters, by the way. They're high school students in the ominously named town of Salem. They spend their days either on social media, or engaging in the sort of debauchery that garners lots of attention on social media. Their entire school, and indeed, the entire world seems to operate this way. While on the self-destructive side, it just seems to be the way the world turns. The first domino to fall in setting this entire universe on its ear is when the town's ultra-conservative Mayor Bartlett (Moss) has his phone hacked. The person responsible released pictures to the media of the mayor engaging in some pretty raunchy behavior, including cavorting with male prostitutes. Next on the hitlist is the head of the girl's school, Principal Turrell (Domingo). When his phone is hacked it is revealed that one of the pictures on it is of his six-year-old daughter in the bathtub. Immediately, people brand him a pedophile. Townsfolk begin taking up arms and going after anyone they think is the hacker, or anyone they think has done them wrong. Things really hit home for our heroines when Lily's phone is hacked. Let's just say things get pretty bad.
All of the things promised in that opening montage do indeed make an appearance. However, the film is patient enough not to rush into those things. Instead, it pulls off the trick of slow-boiling the plot while keeping us interested in the day-to-day affairs of four vapid teenage girls. They exhibit the all too typical short-sightedness of teens. They feel that whatever lies ahead for them couldn't possibly be better than nonsense they're doing right now. And all of it must be recorded, posted, or streamed live. It's a commentary on where society has gone. We're living our real lives to improve our fake ones, the personas we've created online, and the two are quickly becoming one. The movie also takes "cancel culture" to its absurdist, yet logical, extremes. Instead of just saying in a post that someone is "cancelled" for one discretion or another, the people in Salem take it several steps further and try to physically destroy the guilty parties. This volatile mixture of mob mentality, intolerance of mistakes, and downright indignation drives the movie down some dark streets. Director Sam Levinson does it in a highly stylized way with lots of jarring edits, slimy characters, and over-the-top violence. This movie is the baby that would be born if The Purge and Spring Breakers ever hooked up.
While the proliferation of internet culture in real life is one of the movie's focuses, another is misogyny. Look back at that list detailing the opening montage. A number of those things speak directly to this. Overall, the film does a good job at tackling the issue and works its way into a girl-power flick of the most disturbing sort. The shortcoming, however, is that it bites off more than it can chew. It takes aim at a ton of society's ills, but while some get deep dive treatment, others are barely touched by the narrative paintbrush. This might be the source of one observation I have come across. Some have said that this material would be better handled in the hands of a female director. Maybe. I get where people are coming from, but this ignores one key factor: Levinson also wrote the movie. Granted, writing something doesn't automatically make someone qualified to direct it, but it does mean they intimate knowledge of the material. The question then becomes whether the weak link is Levinson the writer, or Levinson the director. Weakness is relative, however, because while flawed, it is a very strong effort on both fronts.
The cast is another iffy factor. They're not bad, but none of the four girls do enough to be the standout. The actors struggle to bring anything beyond affected speech and mannerisms to the role. Part of that may be the writing. After all, they are clearly meant to be shallow. On the other hand, the actors playing adult characters fare much better. They bring emotional complexities and depth to their roles. Unfortunately, not as much of the focus is on them, as there perhaps should be. I desperately wanted to get to know Em and Sarah's mom Nance (Rose) better. She not only has an intriguing story from what we're told, she also becomes integral to the plot.
Faults and shortcomings aside, Assassination Nation is a compelling piece of cinema. It's reach is ambitious, and even though it doesn't hit everything it tries to, it's main message lands pretty clearly. Despite this, I fully understand this is not a movie for everyone. It's unapologetically violent, gory, and just plain nutty, particularly during the third act. If you can get past that, you'll find a movie with lots of interesting things to say, capable of starting some meaningful conversations.
Day 5 of Girl Week 2019 got away from me, technically. However, I'm on the east coast in the U.S. You know what? It's still Day 5 on the west coast, so that's the time we're using. Don't look at me that way. Just go with it.
Directed by Sam Levinson.
2018. Rated R, 110 minutes.
Cast:
Odessa Young
Hari Nef
Abra
Suki Waterhouse
Bella Thorne
Bill Skarsgård
Joel McHale
Colman Domingo
Anika Noni Rose
Maude Apatow
Cullen Moss
The film opens with a montage of trigger warnings that show brief scenes depicting topics including bullying, blood, abuse, classism, death, drinking, drug use, sexual content, toxic masculinity, homophobia, transphobia, guns, nationalism, racism, kidnapping, murder, attempted murder, the male gaze, giant frogs, sexism, swearing, torture, violence, gore, weapons, and fragile male egos. - Wikipedia.com
That blurb is quite literal, and immediately, the movie had me hooked. I had to see if what followed would live up to this amazing setup. We start finding out by meeting Lily (Young) and her three bestest buddies Bex (Nef), Em (Abra), and Sarah (Waterhouse). Those last two are sisters, by the way. They're high school students in the ominously named town of Salem. They spend their days either on social media, or engaging in the sort of debauchery that garners lots of attention on social media. Their entire school, and indeed, the entire world seems to operate this way. While on the self-destructive side, it just seems to be the way the world turns. The first domino to fall in setting this entire universe on its ear is when the town's ultra-conservative Mayor Bartlett (Moss) has his phone hacked. The person responsible released pictures to the media of the mayor engaging in some pretty raunchy behavior, including cavorting with male prostitutes. Next on the hitlist is the head of the girl's school, Principal Turrell (Domingo). When his phone is hacked it is revealed that one of the pictures on it is of his six-year-old daughter in the bathtub. Immediately, people brand him a pedophile. Townsfolk begin taking up arms and going after anyone they think is the hacker, or anyone they think has done them wrong. Things really hit home for our heroines when Lily's phone is hacked. Let's just say things get pretty bad.
All of the things promised in that opening montage do indeed make an appearance. However, the film is patient enough not to rush into those things. Instead, it pulls off the trick of slow-boiling the plot while keeping us interested in the day-to-day affairs of four vapid teenage girls. They exhibit the all too typical short-sightedness of teens. They feel that whatever lies ahead for them couldn't possibly be better than nonsense they're doing right now. And all of it must be recorded, posted, or streamed live. It's a commentary on where society has gone. We're living our real lives to improve our fake ones, the personas we've created online, and the two are quickly becoming one. The movie also takes "cancel culture" to its absurdist, yet logical, extremes. Instead of just saying in a post that someone is "cancelled" for one discretion or another, the people in Salem take it several steps further and try to physically destroy the guilty parties. This volatile mixture of mob mentality, intolerance of mistakes, and downright indignation drives the movie down some dark streets. Director Sam Levinson does it in a highly stylized way with lots of jarring edits, slimy characters, and over-the-top violence. This movie is the baby that would be born if The Purge and Spring Breakers ever hooked up.
While the proliferation of internet culture in real life is one of the movie's focuses, another is misogyny. Look back at that list detailing the opening montage. A number of those things speak directly to this. Overall, the film does a good job at tackling the issue and works its way into a girl-power flick of the most disturbing sort. The shortcoming, however, is that it bites off more than it can chew. It takes aim at a ton of society's ills, but while some get deep dive treatment, others are barely touched by the narrative paintbrush. This might be the source of one observation I have come across. Some have said that this material would be better handled in the hands of a female director. Maybe. I get where people are coming from, but this ignores one key factor: Levinson also wrote the movie. Granted, writing something doesn't automatically make someone qualified to direct it, but it does mean they intimate knowledge of the material. The question then becomes whether the weak link is Levinson the writer, or Levinson the director. Weakness is relative, however, because while flawed, it is a very strong effort on both fronts.
The cast is another iffy factor. They're not bad, but none of the four girls do enough to be the standout. The actors struggle to bring anything beyond affected speech and mannerisms to the role. Part of that may be the writing. After all, they are clearly meant to be shallow. On the other hand, the actors playing adult characters fare much better. They bring emotional complexities and depth to their roles. Unfortunately, not as much of the focus is on them, as there perhaps should be. I desperately wanted to get to know Em and Sarah's mom Nance (Rose) better. She not only has an intriguing story from what we're told, she also becomes integral to the plot.
Faults and shortcomings aside, Assassination Nation is a compelling piece of cinema. It's reach is ambitious, and even though it doesn't hit everything it tries to, it's main message lands pretty clearly. Despite this, I fully understand this is not a movie for everyone. It's unapologetically violent, gory, and just plain nutty, particularly during the third act. If you can get past that, you'll find a movie with lots of interesting things to say, capable of starting some meaningful conversations.
Day 4 Entries:
Marvel Years 10.10 - October 1970
Watch Movies TV -
In 1970 Marvel wanted to try something new. Instead of writing about its own characters, they wanted to attempt to write about a character that belonged to someone else. This led to lengthy negotiations to acquire the rights to publish stories about Conan the Barbarian. He was a character who had first appeared in pulp novels in the 1930's, and after the early death of his creator Robert Howard the rights had been acquired by Glenn Lord, a literary agent who was passionate about Robert Howard's writing.
Eventually Marvel agreed to pay Glenn Lord $200 for every issue it published. This was a huge sum for a small company like Marvel, making it a risky venture. The first issues were written by Roy Thomas and drawn by Barry Smith, and the sales were so low that the comic was in danger of being cancelled, but within two years it became one of Marvel's best selling comics. The series continued until 1993, when Marvel lost the rights to the series. Roy Thomas wrote the first 115 issues, and it was considered by many to be his signature comic.
Another new comic that appeared in October 1970 was Spoof. It was a second attempt at a satirical comic after the cancellation of Not Brand Echh. It contained three short stories each month in which the writers made fun of Marvel's other comics. For instance, the first issue begins with a seven page story written by Roy Thomas and drawn by Marie Severin. Then follow a seven page story written and drawn by Stu Schwartzberg, and a six page story written by Len Wein and drawn by Marie Severin. I didn't find the comic particularly funny, and it was never popular with the readers. It was cancelled after six issues.
Amazing Spider-Man #89
Title: Doc Ock Lives!
Writer: Stan Lee
Artist: Gil Kane
Guests: J. Jonah Jameson, Joe Robertson, Randy Robertson
After the explosion at the end of last issue, Spider-Man assumes that Doctor Octopus is dead. Strange as it seems, he even feels touches of his grief for his deadliest foe. Then Spider-Man reads in a newspaper that his body wasn't found in the plane wreckage, so he has to search for Doctor Octopus again.
In a rooftop battle Doctor Octopus overpowers Spider-Man and throws him off the roof, barely conscious.
Sub-Mariner #30
Title: Calling Captain Marvel!
Writer: Roy Thomas
Artist: Sal Buscema
Villain: Mr. Markham (gangster)
Guests: Captain Marvel, Rick Jones
Rick Jones sees Sub-Mariner on the beach. He's acting strangely, so he becomes Captain Marvel to challenge him. After a fight Sub-Mariner breaks down, so Captain Marvel becomes Rick Jones again to comfort him.
Sub-Mariner reports that a concussion grenade used against him has temporarily made him afraid of the sea. It was used against him by a gangster called Markham, who has threatened to turn the sea radioactive with a Molecular Polluter (TM) if he isn't paid 100 billion dollars. Oh wait! I'm getting him confused with Dr. Evil. The exact sum isn't named.
Together Sub-Mariner and Captain Marvel easily overwhelm Markham, and they throw the device into space, where it explodes harmlessly.
This story is out of sync with the current Fantastic Four comics. It probably takes place before Fantastic Four #102.
Fantastic Four #103
Look! This is the first time the Thing has ever yelled his battle cry on the cover of a comic: It's clobbering time!
Title: At war with Atlantis!
Writer: Stan Lee
Artist: John Romita
Fantastic Four: Reed Richards, Susan Richards, Ben Grimm, Johnny Storm
Villains: Magneto, Sub-Mariner
Regulars: Crystal, Franklin Richards, Agatha Harkness
Guests: Dorma
War between Atlantis and the surface world, in particular the USA, is imminent, but Reed Richards advises caution. He suspects that it might be a misunderstanding, and he's right. Magneto is tricking Sub-Mariner into starting a war.
Look who's talking to the Fantastic Four. It's Tricky Dicky himself!
Reed Richards flies to Sub-Mariner's ship with Ben Grimm and Johnny Storm to talk to him. Susan Richards delivers Franklin to Agatha Harkness. Magneto fires one of Sub-Mariner's missiles at the approaching Fantasti-Car. Sub-Mariner blocks the missile, not wanting to strike first, and falls into the sea. Magneto uses the opportunity to take control of the ship.
Magneto sees Susan Richards returning and takes her prisoner. He also captures Lady Dorma. Sub-Mariner realises that he and the Fantastic Four have a mutual enemy.
Thor #181
Title: One God must fall!
Writer: Stan Lee
Artist: Neal Adams
Villain: Loki, Mephisto
Regulars: Odin, Balder, Sif, Fandral, Hogun, Volstagg, Heimdall
The Warriors Three fight against Mephisto while Sif frees Thor, who is still in Loki's body. Mephisto can't stand to be in the presence of Thor's goodness, so he sends all of them back to the Rainbow Bridge.
On Earth, Loki (in Thor's body) is threatening the United Nations. Thor (in Loki's body) fights him, even though he's much weaker. When Loki throws the hammer, Thor prevents him from retrieving it. After 60 seconds Thor's body disappears and is replaced by Donald Blake's body. Thor's essence enters the body, forcing Loki back into his own body.
Captain America #130
Title: Up against the wall!
Writer: Stan Lee
Artist: Gene Colan
Villain: The Hood, Batroc, Porcupine, Whirlwind
Guests: Hulk (in film), Peter Parker (cameo)
This simple little story is one of the best Captain America comics so far.
Captain America is still travelling on his motor-bike as Steve Rogers. He comes across a police roadblock, so he suits up to investigate. He finds a riot on a university campus. The students are insisting on speaking to the dean, who's locked himself in his room. Captain America rescues the dean, but he's sympathetic with the students.
Captain America is invited to speak on television about the riot. The invitation is a plot by a criminal called the Hood – nice name! – who wants to turn older people against the youth. He's shocked when Captain America gives a very balanced speech, expressing good feelings towards both sides.
The show is interrupted by a newly formed group, the Brigade of Batroc, which is made up of Batroc the Leaper, Whirlwind and the Porcupine. They are working for the Hood.
Oh, and you're wondering why the Hulk was on the splash page? Steve Rogers was watching a film in a movie theatre. I wonder when this fight took place.
The Incredible Hulk #132
Title: In the hands of Hydra!
Writer: Roy Thomas
Artist: Herb Trimpe
Villain: Hydra
Regulars: General Ross, Major Talbot, Betty Ross, Jim Wilson
After being bombarded with the Gammatron rays a second time the Hulk no longer reverts to Bruce Banner, not even while he's asleep. He's held unconscious by a sedative while General Ross decides what to do with him.
On the way home from the army base, Jim Wilson is abducted by Hydra. They tell him that the Hulk is their friend, and they want to release him. He returns to the base the next day and says he wants to spend some time with the Hulk. He opens an air vent, through which Hydra lowers a rigging to pull the Hulk up to their hovercraft. They want to use him as their slave to create chaos on Earth while they quietly take over, but the Hulk fights with them and destroys their craft.
On Earth the Hulk finds Jim badly wounded, and he swears revenge.
Iron Man #30
Title: The Menace of the Monster-Master!
Writer: Allyn Brodsky
Artist: Don Heck
Villain: Monster-Master
This story is an homage to the Japanese monster films that had been popular ever since the first Godzilla film was made in 1954. It's written by Allyn Brodsky, who has already written a few stories in Marvel's horror anthology comics, but this is only his second super-hero story after the Hercules one-shot in Ka-Zar #1.
Iron Man travels to Japan to help scientists with a research project. They're attacked by a giant winged creature that they call Zoga the Demon. It's actually a flying robot piloted by someone who calls himself the Monster-Master. At the end he's unmasked. He's Toru, one of the scientists, who wants to rule Japan and purge the country of foreign invaders.
The Avengers #81
Title: When dies a legend!
Writer: Roy Thomas
Artist: John Buscema
Avengers: Captain America, Thor, Iron Man, Black Panther, Goliath, Vision, Quicksilver, Scarlet Witch
Villain: Cornelius Van Lunt, Jason Birch
That's strange. In the last issue it seemed to be an amiable decision that a few Avengers should aid Red Wolf against Cornelius Van Lunt while the others looked for Scorpio. Now the remaining Avengers are criticising them for not following the majority decision and talking about the Avengers breaking up.
After this discussion, the story follows Goliath, Vision, Scarlet Witch and Red Wolf. They're shot out of the sky by a flying vessel belonging to Van Lunt that's piloted by robots. This is the first time that we've seen he has high tech capabilities. Vision and Scarlet Witch are separated from the others. Van Lunt's men take Scarlet Witch prisoner, and Vision is forced to act as Van Lunt's personal bodyguard to save her life.
Goliath and Red Wolf attack Van Lunt's headquarters with an army of Indians. While Goliath fights with Vision, Red Wolf and the Indians destroy the dam that has been keeping the water out of their native lands.
Cornelius Van Lunt and Red Wolf seemingly die in the falling rubble of the dam, but the story ends with William Talltrees (Red Wolf's alter ego) returning to his tribe.
Daredevil #69
Title: A life on the line
Writer: Roy Thomas
Artist: Gene Colan
Villain: Thunderbolts (black gang)
Guests: Black Panther
Daredevil and Black Panther both arrive to foil a robbery, acting on different tip offs. They decide to unite to put the Thunderbolts gang out of business. They claim to be fighting for black rights, but in truth they're just stealing money for their own profit.
Billie Carver is an ex-soldier who has recently returned from Vietnam to pursue a civilian life. His 15-year-old brother Lonnie, a student in Black Panther's school where he teaches as Luke Charles, is associated with the Thunderbolts. Lonnie is one of the boys that Black Panther wants to save, as he's recounted in the last two issues of The Avengers.
Astonishing Tales #2
Title: Frenzy on the Fortieth Floor!
Writer: Stan Lee
Artist: Jack Kirby
Villain: Kraven the Hunter
I'm not sure what Jack Kirby is up to in this issue. Look at Ka-Zar on the splash page. His body is stiff and his face is featureless. The drawings on the second page are just as bad. The art improves from the third page onwards, but I still have to ask what's wrong with Jack. Was he deliberately sabotaging the comics in his last few weeks before leaving Marvel? This is a sad way for him to leave the company that he made great. Apart from a few issues of Inhumans stories, which he probably drew months in advance for Amazing Adventures, this is his last artwork that will be published for Marvel.
Ka-Zar arrives at the Arlington Arms Hotel in New York and demands to see Kraven. The hotel staff refuse, saying that he's given instructions not to be disturbed, but Kraven comes down to the lobby to attack Ka-Zar. He fights his way up to the fortieth floor, where Zabu is being kept prisoner. Ka-Zar defeats Kraven, while Zabu is rescued by someone calling himself the Petrified Man.
Title: Revolution!
Writer: Roy Thomas
Artist: Wally Wood
Villain: Prince Rudolfo, Doomsman, Faceless One
Prince Rudolfo, who was captured last issue, is revealed to be a robot, built by Doctor Doom himself but reprogrammed by the real Rudolfo.
Someone called the Faceless One allies himself with Rudolfo to make a new attack on Latveria. They recruit the Doomsman as an ally. An attack on the city is carried out, more successful than the previous one. The story ends with Doctor Doom standing face-to-face with his enemies in the palace dungeon.
Western Gunfighters #2
Title: Tarantula no more!
Writer: Gary Friedrich
Artist: Dick Ayers
Villain: Tarantula
Regulars: Natalie Brooks, Ben Brooks
The Tarantula was unmasked at the end of the last issue. Now we see his face: it's Clay Riley, Natalie Brooks' fiance. Ben Brooks tries to prevent Ghost Rider arresting Clay, but Ghost Rider escapes with Clay tied to a horse and rides towards the federal marshal. On the way, Clay wakes up and they fight again. Clay hits his head and suffers from amnesia, no longer remembering his double life of crime. Ghost Rider lets him go free, for now.
Ben Brooks offers a $1000 bounty for the capture of the Ghost Rider, dead or alive.
Other comics published this month:
Millie the Model #186 (Stan Lee, Stan Goldberg)
Chili #17 (Stan Lee, Stan Goldberg)
Our Love Story #7 (Stan Lee, John Buscema)
Rawhide Kid #80 (Larry Lieber, Larry Lieber)
Chamber of Darkness #7 (Bernie Wrightson, Bernie Wrightson)
Note the appearance of Bernie Wrightson as writer and artist in the lead story of Chamber of Darkness. This was the beginning of his career as a freelance writer/artist for Marvel and DC simultaneously. As he continued he wrote hardly any stories, preferring to work as an artist. Over the next 20 years he worked for Marvel, DC and other companies, but his most famous work appeared in DC Comics.
In 1970 Marvel wanted to try something new. Instead of writing about its own characters, they wanted to attempt to write about a character that belonged to someone else. This led to lengthy negotiations to acquire the rights to publish stories about Conan the Barbarian. He was a character who had first appeared in pulp novels in the 1930's, and after the early death of his creator Robert Howard the rights had been acquired by Glenn Lord, a literary agent who was passionate about Robert Howard's writing.
Eventually Marvel agreed to pay Glenn Lord $200 for every issue it published. This was a huge sum for a small company like Marvel, making it a risky venture. The first issues were written by Roy Thomas and drawn by Barry Smith, and the sales were so low that the comic was in danger of being cancelled, but within two years it became one of Marvel's best selling comics. The series continued until 1993, when Marvel lost the rights to the series. Roy Thomas wrote the first 115 issues, and it was considered by many to be his signature comic.
Another new comic that appeared in October 1970 was Spoof. It was a second attempt at a satirical comic after the cancellation of Not Brand Echh. It contained three short stories each month in which the writers made fun of Marvel's other comics. For instance, the first issue begins with a seven page story written by Roy Thomas and drawn by Marie Severin. Then follow a seven page story written and drawn by Stu Schwartzberg, and a six page story written by Len Wein and drawn by Marie Severin. I didn't find the comic particularly funny, and it was never popular with the readers. It was cancelled after six issues.
Amazing Spider-Man #89
Title: Doc Ock Lives!
Writer: Stan Lee
Artist: Gil Kane
Guests: J. Jonah Jameson, Joe Robertson, Randy Robertson
After the explosion at the end of last issue, Spider-Man assumes that Doctor Octopus is dead. Strange as it seems, he even feels touches of his grief for his deadliest foe. Then Spider-Man reads in a newspaper that his body wasn't found in the plane wreckage, so he has to search for Doctor Octopus again.
In a rooftop battle Doctor Octopus overpowers Spider-Man and throws him off the roof, barely conscious.
Sub-Mariner #30
Title: Calling Captain Marvel!
Writer: Roy Thomas
Artist: Sal Buscema
Villain: Mr. Markham (gangster)
Guests: Captain Marvel, Rick Jones
Rick Jones sees Sub-Mariner on the beach. He's acting strangely, so he becomes Captain Marvel to challenge him. After a fight Sub-Mariner breaks down, so Captain Marvel becomes Rick Jones again to comfort him.
Sub-Mariner reports that a concussion grenade used against him has temporarily made him afraid of the sea. It was used against him by a gangster called Markham, who has threatened to turn the sea radioactive with a Molecular Polluter (TM) if he isn't paid 100 billion dollars. Oh wait! I'm getting him confused with Dr. Evil. The exact sum isn't named.
Together Sub-Mariner and Captain Marvel easily overwhelm Markham, and they throw the device into space, where it explodes harmlessly.
This story is out of sync with the current Fantastic Four comics. It probably takes place before Fantastic Four #102.
Fantastic Four #103
Look! This is the first time the Thing has ever yelled his battle cry on the cover of a comic: It's clobbering time!
Title: At war with Atlantis!
Writer: Stan Lee
Artist: John Romita
Fantastic Four: Reed Richards, Susan Richards, Ben Grimm, Johnny Storm
Villains: Magneto, Sub-Mariner
Regulars: Crystal, Franklin Richards, Agatha Harkness
Guests: Dorma
War between Atlantis and the surface world, in particular the USA, is imminent, but Reed Richards advises caution. He suspects that it might be a misunderstanding, and he's right. Magneto is tricking Sub-Mariner into starting a war.
Look who's talking to the Fantastic Four. It's Tricky Dicky himself!
Reed Richards flies to Sub-Mariner's ship with Ben Grimm and Johnny Storm to talk to him. Susan Richards delivers Franklin to Agatha Harkness. Magneto fires one of Sub-Mariner's missiles at the approaching Fantasti-Car. Sub-Mariner blocks the missile, not wanting to strike first, and falls into the sea. Magneto uses the opportunity to take control of the ship.
Magneto sees Susan Richards returning and takes her prisoner. He also captures Lady Dorma. Sub-Mariner realises that he and the Fantastic Four have a mutual enemy.
Thor #181
Title: One God must fall!
Writer: Stan Lee
Artist: Neal Adams
Villain: Loki, Mephisto
Regulars: Odin, Balder, Sif, Fandral, Hogun, Volstagg, Heimdall
The Warriors Three fight against Mephisto while Sif frees Thor, who is still in Loki's body. Mephisto can't stand to be in the presence of Thor's goodness, so he sends all of them back to the Rainbow Bridge.
On Earth, Loki (in Thor's body) is threatening the United Nations. Thor (in Loki's body) fights him, even though he's much weaker. When Loki throws the hammer, Thor prevents him from retrieving it. After 60 seconds Thor's body disappears and is replaced by Donald Blake's body. Thor's essence enters the body, forcing Loki back into his own body.
Captain America #130
Title: Up against the wall!
Writer: Stan Lee
Artist: Gene Colan
Villain: The Hood, Batroc, Porcupine, Whirlwind
Guests: Hulk (in film), Peter Parker (cameo)
This simple little story is one of the best Captain America comics so far.
Captain America is still travelling on his motor-bike as Steve Rogers. He comes across a police roadblock, so he suits up to investigate. He finds a riot on a university campus. The students are insisting on speaking to the dean, who's locked himself in his room. Captain America rescues the dean, but he's sympathetic with the students.
Captain America is invited to speak on television about the riot. The invitation is a plot by a criminal called the Hood – nice name! – who wants to turn older people against the youth. He's shocked when Captain America gives a very balanced speech, expressing good feelings towards both sides.
The show is interrupted by a newly formed group, the Brigade of Batroc, which is made up of Batroc the Leaper, Whirlwind and the Porcupine. They are working for the Hood.
Oh, and you're wondering why the Hulk was on the splash page? Steve Rogers was watching a film in a movie theatre. I wonder when this fight took place.
The Incredible Hulk #132
Title: In the hands of Hydra!
Writer: Roy Thomas
Artist: Herb Trimpe
Villain: Hydra
Regulars: General Ross, Major Talbot, Betty Ross, Jim Wilson
After being bombarded with the Gammatron rays a second time the Hulk no longer reverts to Bruce Banner, not even while he's asleep. He's held unconscious by a sedative while General Ross decides what to do with him.
On the way home from the army base, Jim Wilson is abducted by Hydra. They tell him that the Hulk is their friend, and they want to release him. He returns to the base the next day and says he wants to spend some time with the Hulk. He opens an air vent, through which Hydra lowers a rigging to pull the Hulk up to their hovercraft. They want to use him as their slave to create chaos on Earth while they quietly take over, but the Hulk fights with them and destroys their craft.
On Earth the Hulk finds Jim badly wounded, and he swears revenge.
Iron Man #30
Title: The Menace of the Monster-Master!
Writer: Allyn Brodsky
Artist: Don Heck
Villain: Monster-Master
This story is an homage to the Japanese monster films that had been popular ever since the first Godzilla film was made in 1954. It's written by Allyn Brodsky, who has already written a few stories in Marvel's horror anthology comics, but this is only his second super-hero story after the Hercules one-shot in Ka-Zar #1.
Iron Man travels to Japan to help scientists with a research project. They're attacked by a giant winged creature that they call Zoga the Demon. It's actually a flying robot piloted by someone who calls himself the Monster-Master. At the end he's unmasked. He's Toru, one of the scientists, who wants to rule Japan and purge the country of foreign invaders.
The Avengers #81
Title: When dies a legend!
Writer: Roy Thomas
Artist: John Buscema
Avengers: Captain America, Thor, Iron Man, Black Panther, Goliath, Vision, Quicksilver, Scarlet Witch
Villain: Cornelius Van Lunt, Jason Birch
That's strange. In the last issue it seemed to be an amiable decision that a few Avengers should aid Red Wolf against Cornelius Van Lunt while the others looked for Scorpio. Now the remaining Avengers are criticising them for not following the majority decision and talking about the Avengers breaking up.
After this discussion, the story follows Goliath, Vision, Scarlet Witch and Red Wolf. They're shot out of the sky by a flying vessel belonging to Van Lunt that's piloted by robots. This is the first time that we've seen he has high tech capabilities. Vision and Scarlet Witch are separated from the others. Van Lunt's men take Scarlet Witch prisoner, and Vision is forced to act as Van Lunt's personal bodyguard to save her life.
Goliath and Red Wolf attack Van Lunt's headquarters with an army of Indians. While Goliath fights with Vision, Red Wolf and the Indians destroy the dam that has been keeping the water out of their native lands.
Cornelius Van Lunt and Red Wolf seemingly die in the falling rubble of the dam, but the story ends with William Talltrees (Red Wolf's alter ego) returning to his tribe.
Daredevil #69
Title: A life on the line
Writer: Roy Thomas
Artist: Gene Colan
Villain: Thunderbolts (black gang)
Guests: Black Panther
Daredevil and Black Panther both arrive to foil a robbery, acting on different tip offs. They decide to unite to put the Thunderbolts gang out of business. They claim to be fighting for black rights, but in truth they're just stealing money for their own profit.
Billie Carver is an ex-soldier who has recently returned from Vietnam to pursue a civilian life. His 15-year-old brother Lonnie, a student in Black Panther's school where he teaches as Luke Charles, is associated with the Thunderbolts. Lonnie is one of the boys that Black Panther wants to save, as he's recounted in the last two issues of The Avengers.
Astonishing Tales #2
Title: Frenzy on the Fortieth Floor!
Writer: Stan Lee
Artist: Jack Kirby
Villain: Kraven the Hunter
I'm not sure what Jack Kirby is up to in this issue. Look at Ka-Zar on the splash page. His body is stiff and his face is featureless. The drawings on the second page are just as bad. The art improves from the third page onwards, but I still have to ask what's wrong with Jack. Was he deliberately sabotaging the comics in his last few weeks before leaving Marvel? This is a sad way for him to leave the company that he made great. Apart from a few issues of Inhumans stories, which he probably drew months in advance for Amazing Adventures, this is his last artwork that will be published for Marvel.
Ka-Zar arrives at the Arlington Arms Hotel in New York and demands to see Kraven. The hotel staff refuse, saying that he's given instructions not to be disturbed, but Kraven comes down to the lobby to attack Ka-Zar. He fights his way up to the fortieth floor, where Zabu is being kept prisoner. Ka-Zar defeats Kraven, while Zabu is rescued by someone calling himself the Petrified Man.
Title: Revolution!
Writer: Roy Thomas
Artist: Wally Wood
Villain: Prince Rudolfo, Doomsman, Faceless One
Prince Rudolfo, who was captured last issue, is revealed to be a robot, built by Doctor Doom himself but reprogrammed by the real Rudolfo.
Someone called the Faceless One allies himself with Rudolfo to make a new attack on Latveria. They recruit the Doomsman as an ally. An attack on the city is carried out, more successful than the previous one. The story ends with Doctor Doom standing face-to-face with his enemies in the palace dungeon.
Western Gunfighters #2
Title: Tarantula no more!
Writer: Gary Friedrich
Artist: Dick Ayers
Villain: Tarantula
Regulars: Natalie Brooks, Ben Brooks
The Tarantula was unmasked at the end of the last issue. Now we see his face: it's Clay Riley, Natalie Brooks' fiance. Ben Brooks tries to prevent Ghost Rider arresting Clay, but Ghost Rider escapes with Clay tied to a horse and rides towards the federal marshal. On the way, Clay wakes up and they fight again. Clay hits his head and suffers from amnesia, no longer remembering his double life of crime. Ghost Rider lets him go free, for now.
Ben Brooks offers a $1000 bounty for the capture of the Ghost Rider, dead or alive.
Other comics published this month:
Millie the Model #186 (Stan Lee, Stan Goldberg)
Chili #17 (Stan Lee, Stan Goldberg)
Our Love Story #7 (Stan Lee, John Buscema)
Rawhide Kid #80 (Larry Lieber, Larry Lieber)
Chamber of Darkness #7 (Bernie Wrightson, Bernie Wrightson)
Note the appearance of Bernie Wrightson as writer and artist in the lead story of Chamber of Darkness. This was the beginning of his career as a freelance writer/artist for Marvel and DC simultaneously. As he continued he wrote hardly any stories, preferring to work as an artist. Over the next 20 years he worked for Marvel, DC and other companies, but his most famous work appeared in DC Comics.
Review of THE HEIRESS: Scion of Sorcery
Watch Movies TV - November 29, 2019
When I first heard of the title, it called to my mind a classic 1949 American drama film which won for Olivia de Havilland a best actress award. Its story about a rich but homely heiress and her handsome but poor suitor was remade in Filipino as "Ikaw Pa Lang ang Minahal" starring Maricel Soriano as the heiress Adela. However, the trailers soon made it clear that this new film was of the horror genre and had nothing to do with the first, but it was interesting that Maricel Soriano was also starring in it.
Guia (Janella Salvador) was a young woman who grew up under the care of her strict, old-fashioned aunt Luna (Maricel Soriano). As Guia's 18th birthday approached on the coming Good Friday, a malevolent ghost, appearing as an elderly woman dressed in black,made herself felt in their old house, wreaking terror to ensure the delivery of a promised offering. Meanwhile, Guia's limited world view was being changed by her friend in school Renz (McCoy de Leon) and the surprise homecoming of her mother (Sunshine Cruz).
It was not really a surprise that Luna, with her dark dowdy long dresses, severe braided hairstyle and shelves full of herbal medicine, was a sort of local folk sorcerer called "mambabarang" (a Filipino brand of voodoo), and a powerful one at that. In an early scene, after their landlady Yolly (Lotlot Bustamante) threatened eviction for delayed rent payment, Luna whispered incantations while manipulating a doll to cause the poor woman's death.
Maricel Soriano's last dramatic role in a feature film was at least eight years ago in the Jun Lana film "Yesterday, Today, Tomorrow" (2011) which won her the Best Actress award in the Metro Manila Filmfest that year. Since then, she only had occasional film projects in the past few years, all in silly comedies like "Momzillas" (2013), "Girl, Boy, Bakla, Tomboy" (2013) and "My 2 Mommies" (2018).
This new film brings her back to a serious lead role, but this one is rather heavily stylized in over-the-top horror mannerisms in terms of acting style and line delivery. Every time Luna appeared on screen, her presence always had to be accompanied by eerie music to emphasize her evil. I felt Soriano did not really need all these in-your-face embellishments to establish her intimidating presence.
Janella Salvador played the title character Guia, who was indeed an heiress, but her inheritance was not exactly monetary in nature. Her fresh beauty still shone through even in those scenes where she was supposed to be a plain mousy girl with an old maid's wardrobe. It was odd that only McCoy de Leon's character Renz who noticed her at all. Story-wise, if the evil spirit Mamalarang wanted Guia to join her coven, it was not clear why the girl was being scared off, instead of being enticed in.
After a long absence from the silver screen, Sunshine Cruz is back in a second film this year after "Malamaya." Here she played Guia's absentee mother Carmen who suddenly came home to claim her daughter, running counter to Luna's plans. Unfortunately for Cruz, it was her character who had the most questionable, and even downright wrong, decisions. Also, despite the fact that she was away from the country for all those years, yet it seemed so easy for her to locate old Apo Digos (Dido dela Paz) for help.
The best scenes for me were those showing Luna's ability to bilocate, which were well-executed to create viewer confusion. The production design of Luna's secret room was also commendable, meticulously filled with all sorts of creepy sorcery paraphernalia from wall to wall. It was good to see the future Darna Jane de Leon as the young Luna, depicting why and how she embraced the powers of sorcery.
Director Frasco Mortiz's major highlights were those grisly scenes of remote-control sorcery showing the victims' excruciating ordeal of being ripped limb from limb which left their bodies in a distorted mess. The editing, visual effects, sound effects and musical score all came together well in these scenes, but for me, watching them evoked pain more than fear. Also, the face of the evil Mamalarang (Naya Amores) was shown close-up too early in the film, right in the opening sequence. Her scare factor diminished with her multiple subsequent appearances. 5/10.
When I first heard of the title, it called to my mind a classic 1949 American drama film which won for Olivia de Havilland a best actress award. Its story about a rich but homely heiress and her handsome but poor suitor was remade in Filipino as "Ikaw Pa Lang ang Minahal" starring Maricel Soriano as the heiress Adela. However, the trailers soon made it clear that this new film was of the horror genre and had nothing to do with the first, but it was interesting that Maricel Soriano was also starring in it.
Guia (Janella Salvador) was a young woman who grew up under the care of her strict, old-fashioned aunt Luna (Maricel Soriano). As Guia's 18th birthday approached on the coming Good Friday, a malevolent ghost, appearing as an elderly woman dressed in black,made herself felt in their old house, wreaking terror to ensure the delivery of a promised offering. Meanwhile, Guia's limited world view was being changed by her friend in school Renz (McCoy de Leon) and the surprise homecoming of her mother (Sunshine Cruz).
It was not really a surprise that Luna, with her dark dowdy long dresses, severe braided hairstyle and shelves full of herbal medicine, was a sort of local folk sorcerer called "mambabarang" (a Filipino brand of voodoo), and a powerful one at that. In an early scene, after their landlady Yolly (Lotlot Bustamante) threatened eviction for delayed rent payment, Luna whispered incantations while manipulating a doll to cause the poor woman's death.
Maricel Soriano's last dramatic role in a feature film was at least eight years ago in the Jun Lana film "Yesterday, Today, Tomorrow" (2011) which won her the Best Actress award in the Metro Manila Filmfest that year. Since then, she only had occasional film projects in the past few years, all in silly comedies like "Momzillas" (2013), "Girl, Boy, Bakla, Tomboy" (2013) and "My 2 Mommies" (2018).
This new film brings her back to a serious lead role, but this one is rather heavily stylized in over-the-top horror mannerisms in terms of acting style and line delivery. Every time Luna appeared on screen, her presence always had to be accompanied by eerie music to emphasize her evil. I felt Soriano did not really need all these in-your-face embellishments to establish her intimidating presence.
Janella Salvador played the title character Guia, who was indeed an heiress, but her inheritance was not exactly monetary in nature. Her fresh beauty still shone through even in those scenes where she was supposed to be a plain mousy girl with an old maid's wardrobe. It was odd that only McCoy de Leon's character Renz who noticed her at all. Story-wise, if the evil spirit Mamalarang wanted Guia to join her coven, it was not clear why the girl was being scared off, instead of being enticed in.
After a long absence from the silver screen, Sunshine Cruz is back in a second film this year after "Malamaya." Here she played Guia's absentee mother Carmen who suddenly came home to claim her daughter, running counter to Luna's plans. Unfortunately for Cruz, it was her character who had the most questionable, and even downright wrong, decisions. Also, despite the fact that she was away from the country for all those years, yet it seemed so easy for her to locate old Apo Digos (Dido dela Paz) for help.
The best scenes for me were those showing Luna's ability to bilocate, which were well-executed to create viewer confusion. The production design of Luna's secret room was also commendable, meticulously filled with all sorts of creepy sorcery paraphernalia from wall to wall. It was good to see the future Darna Jane de Leon as the young Luna, depicting why and how she embraced the powers of sorcery.
Director Frasco Mortiz's major highlights were those grisly scenes of remote-control sorcery showing the victims' excruciating ordeal of being ripped limb from limb which left their bodies in a distorted mess. The editing, visual effects, sound effects and musical score all came together well in these scenes, but for me, watching them evoked pain more than fear. Also, the face of the evil Mamalarang (Naya Amores) was shown close-up too early in the film, right in the opening sequence. Her scare factor diminished with her multiple subsequent appearances. 5/10.
Rise of the Harvester: Book Three 'Homecoming' (2019) by Steve McGinnis - Horror Graphic Novel Review
Watch Movies TV -
Rise of the Harvester is a horror graphic novel series that I hadn't heard of before getting the opportunity to review the latest book; Rise of the Harvester: Book 3 'Homecoming'. Obviously having not read the previous books I would be at a disadvantage, though I was curious to find out just how much prior knowledge would be needed. Some spoilers for previous entries to follow. The series is about a supernatural slasher villain known as the Harvester, in the second book 'Con of the Dead' the killer slays his way through the attendees of a horror convention, eventually escaping when the authorities mistake a cosplayer of the Harvester for the killer himself.
'Homecoming' picks up seven hours after the end of the second book. A survivor in an interrogation room tries to tell detective Warner, and Dr. Johnson they got the wrong person, but they don't believe her. Meanwhile a strange murder has occured back in the area that Samuel (the Harvester) used to live when he was alive. The two men travel there to investigate, Warner is sure it is all unrelated to the carnage at the convention, but Johnson thinks otherwise. Events lead them to a showdown with the unstoppable killer, will they be able to finally stop his path of rampage?
Before reading this I did have a quick Google search to get up to speed on what has happened previously, but even without that I don't think it hampered my enjoyment here. The interrogation scene at the start sums up the ending of 'Con of the Dead', while the backstory for Samuel is provided once again, this time by an old lady who lives in the area that the killer grew up in. The artstyle was strange, but I liked it. Panels are quite simple, but the art goes for more of a realistic look, so characters expressions make them easy to read, a pop art look which I thought was decent. Panels on the whole don't have too much background art to them but everything is very clear to follow. I liked that the flashback sequence have a change of artstyle to a far more cartoon look, which helped split it up from the present day parts. The art style was good throughout, displayed best with a few full page spreads of various topics.
There are plenty of gory kills here, and they get inventive, the first time I have seen someone get beaten to death with a cat! Someone else gets a fist punched right through their face, and plenty of people get their heads ripped off, and their intestines spilled. There was a high body count that doesn't spare young children from the Harvester's bloody path. The story here felt like it had most in common with the Halloween franchise, especially with Dr. Johnson who has a bit of Dr. Loomis in him with how he seems both repulsed, and obsessed with Harvester. The killer itself is the strong and silent type, but he has a ghost/demon type child haunting him who spurs him onwards, this helps provide motivation for him that wouldn't be able to exist otherwise. I liked the subtext that maybe the Harvester is a force of nature there to bring balance to a world in which mankind are destroying the planet.
Emulating the slasher films it pays homage to this ends with the possibility of more stories of the Harvester to follow. A simple tale, one that is full of good art, and which has a violent tale. It isn't going to break boundaries of storytelling, but like the slashers it is based on there is enjoyment to be found here. The 90 page third volume in the Rise of the Harvester series is now out to purchase, and can be done so from here, where the other two books can also be purchased.
SCORE:
Rise of the Harvester is a horror graphic novel series that I hadn't heard of before getting the opportunity to review the latest book; Rise of the Harvester: Book 3 'Homecoming'. Obviously having not read the previous books I would be at a disadvantage, though I was curious to find out just how much prior knowledge would be needed. Some spoilers for previous entries to follow. The series is about a supernatural slasher villain known as the Harvester, in the second book 'Con of the Dead' the killer slays his way through the attendees of a horror convention, eventually escaping when the authorities mistake a cosplayer of the Harvester for the killer himself.
'Homecoming' picks up seven hours after the end of the second book. A survivor in an interrogation room tries to tell detective Warner, and Dr. Johnson they got the wrong person, but they don't believe her. Meanwhile a strange murder has occured back in the area that Samuel (the Harvester) used to live when he was alive. The two men travel there to investigate, Warner is sure it is all unrelated to the carnage at the convention, but Johnson thinks otherwise. Events lead them to a showdown with the unstoppable killer, will they be able to finally stop his path of rampage?
Before reading this I did have a quick Google search to get up to speed on what has happened previously, but even without that I don't think it hampered my enjoyment here. The interrogation scene at the start sums up the ending of 'Con of the Dead', while the backstory for Samuel is provided once again, this time by an old lady who lives in the area that the killer grew up in. The artstyle was strange, but I liked it. Panels are quite simple, but the art goes for more of a realistic look, so characters expressions make them easy to read, a pop art look which I thought was decent. Panels on the whole don't have too much background art to them but everything is very clear to follow. I liked that the flashback sequence have a change of artstyle to a far more cartoon look, which helped split it up from the present day parts. The art style was good throughout, displayed best with a few full page spreads of various topics.
There are plenty of gory kills here, and they get inventive, the first time I have seen someone get beaten to death with a cat! Someone else gets a fist punched right through their face, and plenty of people get their heads ripped off, and their intestines spilled. There was a high body count that doesn't spare young children from the Harvester's bloody path. The story here felt like it had most in common with the Halloween franchise, especially with Dr. Johnson who has a bit of Dr. Loomis in him with how he seems both repulsed, and obsessed with Harvester. The killer itself is the strong and silent type, but he has a ghost/demon type child haunting him who spurs him onwards, this helps provide motivation for him that wouldn't be able to exist otherwise. I liked the subtext that maybe the Harvester is a force of nature there to bring balance to a world in which mankind are destroying the planet.
Emulating the slasher films it pays homage to this ends with the possibility of more stories of the Harvester to follow. A simple tale, one that is full of good art, and which has a violent tale. It isn't going to break boundaries of storytelling, but like the slashers it is based on there is enjoyment to be found here. The 90 page third volume in the Rise of the Harvester series is now out to purchase, and can be done so from here, where the other two books can also be purchased.
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