Hack/Slash vs. Vampirella

1 Reply

I know very little about Vampirella as a character, save that she exists and dresses… provocatively, let’s say. However, I know a great deal about Cassandra Hack, so I am qualified to speak on two thirds of the factors that went into this book.

Well, three fourths if you count the name, which is a little odd. Hack/Slash Vs. Vampirella implies that the titles are fighting, rather than the characters. And that’s just weird, right? (I mean, obviously if the characters are all good guys in a crossover, their fighting will be resolved amicably before they deal with the real threat, I’m not talking about that; ‘sjust the way things are done. But who ever heard of books fighting? Get it together, title bro!)

Okay, I’ve lost the thread. Anyway, thing one I can address is the plot, and it was, y’know, fine. Cassie and her road trip buddy / fighting companion Vlad do the thing they do, dealing with a threat that could range anywhere from “might kill some teens at  summer camp. again.” to “extinction-level event in the offing”, and they do so the way they usually do: messily.

To reiterate, I cannot address thing two, which is how was Vampirella’s characterization? Because I have no idea. Maybe Shawn Aldridge has written for her before, and maybe not. Her artistic rendering matched my vague memories of book covers past, so there’s that.

Thing three is Cassie’s characterization, and, um… it wasn’t actively terrible. I know it can be hard for some authors to correctly capture some voices. Honestly, it’s a testament to Marvel’s editorial staff over the first 25 years, that characters come across poorly so infrequently. But speaking, as we were, of Cassie’s voice… she had one mode the whole book, and it was vulgar bluster. Which is a thing she does sometimes, but honestly, the blood-spattered cheesecake in these books has never been good enough for me to tolerate a one note character, not for nearly this long. I really hope that whoever authors the next of these books has a better handle on what makes them tick. Or else, maybe this was simply a Vampirella book, and the target audience doesn’t care about my concerns at all?

Beats me!

The Pool (2018)

Leave a reply

So, what I knew about The Pool going in is that it was a Thai movie about a dude trapped in a really deep, empty pool with a crocogator. Which, yeah, that’s enough by itself to fill like 75 minutes I reckon?

So I was pleasantly surprised to learn that this is in fact a pressure cooker of a plot, where every few minutes brings another new twist that ratchets up the tension another notch, until… well, that would be telling, obviously, but what I will say is that by the end of the movie, I believed the writers were willing to go to any lengths, which is ultimately what you want out of a horror movie but so rarely get. Nobody is safe, no line is uncrossable.

Billy Summers

Leave a reply

It really should not take me four months to read a book, too-busy job and toddler-rearing or not. And I mean, don’t mistake me, I read really a lot of comics in this period as well, but… something isn’t right, and I need to address it[1]. All that said, despite a four month duration, I was pretty happy with Billy Summers, even though after the early act two surprise shift in direction, I expected not to be.

The way things start is, Billy is a hitman who is a) smarter than he acts, b) only takes jobs on bad people who deserve it, and c) has just been offered one hell of a payout on his next job, even though he had kind of already convinced himself it was time to retire. I, uh, think we all know what that means. Hell, even Billy knows, but the money shines a little more brightly than the flashing genre signpost in his mind does.

Later… well, that would be telling. I will say that by the end of the book, my misgivings about the second act shift in direction had largely been settled, the long delay mainly because it was impossible to be sure whether it would turn out okay until the end of the book. I can imagine wanting to stay away, though, and I’m aware of just how vague I’m being: this is for spoiler purposes. But if you personally want to know what I would be waving you off from as a hazard, just let me know and I will divulge.

Lastly, it’s a little weird how political King has become. I mean, not on Twitter, he should do whatever he wants there. And I also understand that one writes what one knows. It’s just jarring after reading everything he’s written, a catalog that by a small margin predates my own birth, to see how much politics has seeped into his overall viewpoint in just these last recent years. The good news is, boomer blind spots or not, at least he’s on the right side of history. (The other good news is that just because it’s there to notice and be surprised by, it’s not like he has, this time or previously, written a book about politics. (Even if act three is sort of a political revenge fantasy.))

[1] Possible way to address it: accept that I’m primarily a comics reader and have 35 years still to catch up on. For various reasons, I’m not perfectly happy with this option.

8-Bit Christmas

Leave a reply

Back when streaming wasn’t a thing, A Christmas Story was such a popular movie that it would play over and over again for like a week straight on TBS, so people could just drop in and out and watch it whenever they felt like. In a strange albeit horrific and commercial-littered way, it presaged the very idea of streaming, at least for this one specific movie.

8-Bit Christmas is essentially Neil Patrick Harris narrating to his daughter his childhood attempts to bag a Nintendo Entertainment System near Christmas, one year in the late ’80s. It is episodic, sweet and heartfelt, and might otherwise become a classic if that kind of thing were possible anymore in such a diverse, fractured field of infinite entertainment options.

Basically, to bring my point back around to an otherwise extraneous introductory paragraph, A Christmas Story was an early ’80s movie about life and the holidays in the 1940s. This is an early ’20s movie about life and the holidays in the 1980s. I’m not saying they’re the same movie, but that’s mainly because I was alive in the ’80s and not the ’40s, so it’s hard to detect if ACS was telling lies or not. 8BC isn’t, though.

Paranormal Activity: Next of Kin

Leave a reply

Next of Kin dares to ask two new questions, which makes it objectively twice as important as Ghost Activity[1] was. One: what if paranormal activity, except Amish? Amish are not as spooky as children, but there’s no denying that living an 18th century lifestyle in the 21st century is a little creepy if you adjust the angle on it even slightly. And this time I’m being 100% serious: two, what if paranormal activity but with all continuity jettisoned and the whole thing is itself, not beholden to anything except found footage of jump scares and eventual terror.

Young adult, adopted with no history beyond a lady dropping her off at a hospital, finds an Amish relative via 23 and Me or whatever, and her friend decides, hey, this would be a cool documentary. Let’s go find your roots! And they do, with a conveniently good excuse to always be filming things[2]. Later, they learn that Amish are in fact creepy, as is their church in the woods, as is their spoiler stuff I won’t mention, and all of this even if they are not actually Amish at all.

I think I like the ending of this movie best of all of them except the first one.

[1] That’s not actually the correct name, but I’m leaving it as is. haha oops
[2] By my count, maybe three of the movies actually have this excuse for the whole duration, which is not the worst record.

Paranormal Activity: The Ghost Dimension

1 Reply

Anyway, there was one more Paranormal Activity movie that I missed, prior to the current new one that doesn’t yet count as missed. So now I’m caught up, yaaay.

The Ghost Dimension dares to ask the question: what if a paranormal activity movie, but it’s a new family who moved into the prequel house, and also they find a magic camcorder that can see what has until now been left unseen? You can often tell that by the sixth movie in a series, maybe the well is running dry?

I’m being unfair, though, this was a legit entry to the series, for the following reasons: 1) they came back around to a creepy kid. This is always the way to go, so that was a great start out the gate, and this little girl oozes creepy. Hopefully because she’s a good actor, as otherwise I feel bad for her now. 2) for the first time ever, there’s a good reason to hold onto the camera even when things are completely insane. Because you can see what’s going on and use it to save yourself in a way that people in the prior movies could not[1].

Okay, that’s not a lot of reasons, fine. But it represents a correct direction for the series and I’m not sad that I bothered with this like I might have otherwise been. Now, the problems with the movie: 1) the time travel stuff does not make a lick of sense. It didn’t when they introduced it, and it does even less now. As far as I can tell it’s there only so new characters can stumble into scenes from older movies. 2) watching movies with commercials sucks. …okay, that’s not a problem with the movie per se, but it is a problem with the distribution people not selling streaming rights to the right vendors. No, I will not pay a rental fee. Ugh, get off my lawn.

[1] I mean, you can’t. It won’t help, at all. Obviously. But it’s still a good excuse!

Paranormal Activity: The Marked Ones

Leave a reply

It’s been nearly a decade since I last watched a Paranormal Activity movie. …well, a new one, anyway. I rewatched the first four this week, after determining that they released entry #7 and thinking, should I catch up? Hey, why not!

To answer: The Marked Ones is a perfectly cromulent spooky demon stuff movie. Things move around of their own accord, something is angry about who knows what, there is a third act body count, all the boxes were ticked off, even ominous references to the Featherstons. But… it was either too much or not enough.

I guess what I mean is, the first movie was just a movie. The second movie and onward built on a shared mythology, though, following the backstory and travails of one cursed family. And, okay, the prior movie did make reference to an army of demon people looking for hosts for their pet demons or whatever is going on; it didn’t entirely make sense? And look, I found my point! Because the problem isn’t that this movie built on the demon army idea by branching out to different families experiencing different but basically the same problems. That part was great, and even a correct direction for the franchise.

No, the problem is that nothing new happened. Well, no, the first problem is that every character was a teen, and teens aren’t spooky. Kids are spooky, and we have been given too many spooky kids in this series to move to adult teens now. No thank you, I have Friday the 13th[1] for that. But the main problem is, I don’t know anything new about the mythology than I knew at the end of the fourth movie. Why is there an army? Are they all for one demon? Are this many people coming due for demonic money and power deals, or how did the army even happen? Answers to these questions: nope, nothing, nada. This was just… filler.

Meh. (I liked the Simon Says bits, though.)

[1] Or maybe A Nightmare on Elm Street is more appropriate?

Eternals

Leave a reply

Retroactive continuity is a tool honed to perfection in two art forms[1]: soap operas and superhero comic books. These forms share a lot else in common. They are a) both extremely long-form storytelling where b) the people writing today do not have a plan past the next ten or twelve episodes at the most, c) they both have cliques of characters that mostly hang out together but occasionally cross over with other cliques, and even more rarely all come together for some kind of huge event, and they both d) have dedicated, opinionated fanbases who have stuck around for decades but e) are written so that someone can drop in at practically any moment and be able to catch up.

A “retcon” is when a writer comes up with a story idea that does not match the established continuity of the previous stories, continuity that may be established over years or even decades, but then decides that the story idea is good enough to run with anyway, and comes up with a way to mesh their idea into the long-term continuity retroactively, so that this new continuity was always true, it’s just that the audience and often the characters weren’t aware of it.

Which brings me to Eternals, the (if I counted right) 26th movie released in the Marvel Cinematic Universe. (It is important to now note that this review will contain, and in fact for the eagle-eyed reader perhaps already does contain, mild spoilers. It’s not too late to stop. But it nearly is.) A movie which, early in the first act, reveals that for over 7000 years a group of cosmically-powered people called Eternals, at the behest of a group we’ve heard of before called Celestials (aka space gods like you might have seen out in space, at Knowhere or (possibly but probably not) Ego for example), were sent from the planet Olympia[2] to Earth to defend a barely established mankind from creepy mostly-made-of-tendrils monsters called Deviants, and that those Eternals have been here ever since. Yep, even then.

While that is not the only apparent retcon in the movie[3], it is the least spoilery one, and therefore I am at the end of my review, leaving only two details to add. First, the capsule plot of the movie is that, oops, the Deviants are back, so now the Eternals have to come out of the shadows they’ve been hiding in for at least the past fifteen years and who knows how much longer, to do their jobs once more. Second, to the extent that I am familiar with these characters, which is about half of them: yep, this was written by someone who understood the fundamental natures of the characters, and in particular the portrayal of Ikaris gives me hope that Mr. Fantastic will be done right someday.

[1] and almost certainly badly misused anywhere else. Not guaranteed to be, but it’s the safe way to bet.
[2] I think this is a little funny, but it’s hard to explain why.
[3] I have some opinions here.

Maniac Cop 3: Badge of Silence

Leave a reply

As you will no doubt remember from Maniac Cop and Maniac Cop 2[1], there was a maniac cop who was actually sort of undead too?, and who got the best of both Richard Roundtree and Bruce Campbell, which lets you know he was a badass. And it turns out that he’d been sold out by the city and left to die in prison, and once that truth was revealed he was able to rest in peace, secure in the knowledge that a balanced view of both sides of cops (ie, way too much brutality and people should be terrified of law enforcement, or else cops should protect each other unless it’s actually a bad apple, which it somehow never is though) had been presented over the course of the two films. And if that “balanced” message has aged badly, it’s still impressive that anyone was presenting a two-sided message in the late ’80s, instead of only the one side you’d expect.

Maniac Cop 3[2] proves you can have too much of a slightly but on average good thing. Because, you see, by the early ’90s, the dial had apparently swung back to cops are always right and it’s only the evil media misportraying them that causes problems. To wit: you would think that after a lady cop foils a pharmacy robbery, getting shot in the process, she’d be a hero, right? But instead, the footage is edited to make it look like she murdered the hostage while also trying to murder the perp, and now in addition to having no brain activity in her hospital room, she’s also the postergirl for “Police = Bad”, even though the unedited footage shows her being heroic but ambushed.

Okay, so that’s probably why the maniac cop comes back to life for more vengeance, right? Haha, no, he was raised by a voodoo priest at the beginning of the movie before any of that happened, for no apparent reason! But undead maniac cops get the paper and the 5 o’clock news, same as everyone else, so it isn’t long before he makes it his business anyway. (What an unnecessary subplot, the voodoo thing. I don’t get it at all.)

Anyway, none of that is important, and knowing it’s happening mostly makes the movie way worse than if you’re just watching it to see a maniac cop kill people for no apparent reason, regular slasher style. And then later to watch Robert Davi[3] drive down a highway into oncoming traffic for about five minutes straight, watching the road for maybe one of those minutes total while mostly unloading clip after clip of his gun out the passenger window into a maniac cop of some kind, complete with real time reloads in between and occasional pauses to comfort the screaming doctor lady in the passenger seat.

It is maybe the best cop car chase I’ve ever seen, outside of a Blues Brothers revival.

[1] You won’t.
[2] I had assumed that the sub-heading, “Badge of Silence”, would be a reference to a code of silence, a la thin blue line, a la cops not turning on other cops. But there was never a plotline that came close to that as a concept, so, I have no idea what they were going for. *shrug emoji*
[3] You don’t know you know who he is, but you’ve seen him before. He has Edward James Olmos cheeks, but with dead eyes.

The Beach House (2019)

Leave a reply

The movie starts with a high overhead shot of aquamarine water, and zooms down beneath the waves to something cloudy spurting from a crack in a rocky wall at the ocean’s bottom. We are told via music cues that this is ominous. The movie ends, if you were to play this scene backwards (dialogue excepted) with a high overhead shot of aquamarine water, tracking down to a beach and then a woman lying on her back on the beach, rocking slightly and saying over and over to herself, or possibly to the audience (since she’s speaking directly into the camera), “Don’t be scared. Don’t be scared.”

Meanwhile, I was wishing I had been.

Between those far too on-the-nose bookends, The Beach House is actually okay, if you go for flicks that are a cross between The Mist and Reefer Madness with a touch of body horror thrown in. A couple goes to, you know, a beach house, only to discover uninvited guests are also staying there. But none of these people are me, because they make friends and hang out getting stoned. But then a weird glowy (or high-induced?) fog rolls in, and shit gets real.

Except that phrase implies big actiony setpieces, whereas this was definitely slow and creepy, even in the glaring light of day. If they hadn’t tried so hard in the first and last scenes, I would have come away with a more positive overall impression.