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Darren (1599 KP) rated The Ring (2002) in Movies
Nov 7, 2019
Characters – Rachel is a single mother and reporter that starts investigating the mysterious death of her niece, this leads her to a VHS tape which puts her in the same seven day warning, forcing her to investigate the tape, she uses her connections and skills as a reporter to unlock this truth, while become more desperate after her son watches the same tape. Noah is the ex-partner and father to Aidan, he is still dating college students, which is why they no longer date, he is however an expect on video, which sees him being used to help break down the tape, which does including him watching it, he doesn’t come off like a nice guy, but we get the scene which shows why he is the way he is. Aidan is the son of the two, he seems to be the most grounded of the three, he is always prepared for the day, knowing that his mother will be late, only he watches the video making him one of the targets for the curse within the video. Richard is the adopted father of Samara, his love for the horses as seen his life destroyed even with his connection to Samara being the reason for the curse.
Performances – Naomi Watts in the leading role is great, she gets to show us just how difficult being a single mother can be, while trying to face a life and death situation with trying to find the answers. Martin Henderson is solid enough in his role which sees him being a bad father that could learn over this week. David Dorfman does give us a creepy kid performance, while Brian Cox in his limited screen time makes a big impact.
Story – The story here follows a reporter that is investigating the death of a family member that is connecting a video tape which will give any viewer seven days to live. This story is a remake of Ringu and does fall into one of my favourite sub-genres of horror, the ghostly haunting investigation one, which is looking to solve a mystery and isn’t afraid to give us a moment of hauntings to push everything in the right direction. It is strange that part of this film has dated with the technology advances which could see the VHS side of the film going over people’s heads, but away from that seeing just how everything is connected, with glimpses of the video appearing through the film needing to be solved by both the character and audience gives this an interesting element for the audience to get involved in.
Horror/Mystery – The horror comes from the horrific imagines we see on the tape, we also know early on what will happen to anybody that watches the tape, by seeing just how the first opening kill looks. The mystery comes from just what we are seeing in the tape, it is a host of clues which will unlock the truth.
Settings – The film shows us the settings through the tape, each one has a connection to everything going on and makes us want to know just what the connection is going to be.
Special Effects – The effects in the film are fantastic to watch, with one of the greatest effects scenes in the closing of the film which will shock and wonder how it was done.
Scene of the Movie – The Horse on the boat is a horrific scene to watch.
That Moment That Annoyed Me – VHS has dated out now.
Final Thoughts – This is one of the greatest horror remakes, it remains scary through the years along with giving us the time scale everything is going to be revealed.
Overall: Wonderful horror remake.
Performances – Naomi Watts in the leading role is great, she gets to show us just how difficult being a single mother can be, while trying to face a life and death situation with trying to find the answers. Martin Henderson is solid enough in his role which sees him being a bad father that could learn over this week. David Dorfman does give us a creepy kid performance, while Brian Cox in his limited screen time makes a big impact.
Story – The story here follows a reporter that is investigating the death of a family member that is connecting a video tape which will give any viewer seven days to live. This story is a remake of Ringu and does fall into one of my favourite sub-genres of horror, the ghostly haunting investigation one, which is looking to solve a mystery and isn’t afraid to give us a moment of hauntings to push everything in the right direction. It is strange that part of this film has dated with the technology advances which could see the VHS side of the film going over people’s heads, but away from that seeing just how everything is connected, with glimpses of the video appearing through the film needing to be solved by both the character and audience gives this an interesting element for the audience to get involved in.
Horror/Mystery – The horror comes from the horrific imagines we see on the tape, we also know early on what will happen to anybody that watches the tape, by seeing just how the first opening kill looks. The mystery comes from just what we are seeing in the tape, it is a host of clues which will unlock the truth.
Settings – The film shows us the settings through the tape, each one has a connection to everything going on and makes us want to know just what the connection is going to be.
Special Effects – The effects in the film are fantastic to watch, with one of the greatest effects scenes in the closing of the film which will shock and wonder how it was done.
Scene of the Movie – The Horse on the boat is a horrific scene to watch.
That Moment That Annoyed Me – VHS has dated out now.
Final Thoughts – This is one of the greatest horror remakes, it remains scary through the years along with giving us the time scale everything is going to be revealed.
Overall: Wonderful horror remake.
Bob Mann (459 KP) rated The Mummy (2017) in Movies
Sep 29, 2021
Crushingly Mediocre
I’d read the bad reviews, but thought “Hey, it’s Tom Cruise – how bad could it be?” The answer is, “Pretty bad”.
It’s an ominous sign when a film starts with a voice-over (even if done by the sonorous tones of Russell Crowe). Regular readers of this blog will know I generally abhor voice-overs: it invariably belies a belief by the scriptwriters that they think the audience are too damn stupid to join up the plot-dots themselves. Here we portentously walk through the ancient Egyptian backstory of princess Ahmanet (Sofia Boutella, “Kingsman: The Secret Service“; “Star Trek Beyond“) cursed to become the titular Mummy. We then skip forward to the present day and the film settles down, promisingly enough, with scavenging adventurer Nick Morton (Cruise, in Indiana Jones mode), discovering a lost Egyptian temple in war-torn modern-day Mesopotamia that for the sake of the world should have stayed lost.
But after an impressive plane crash (with zero G scenes filmed for real in a “Vomit Comet”) the plot dissolves into a completely incoherent mush. With B-movie lines forcing B-movie acting performances, the film lurches from plot crisis to plot crisis in a similar manner to the comically lurching undead Zombie-like creatures that Ahmanet has sucked the life out of. (After 110 minutes of this, I know how they feel!)
What were actors of this calibre doing in this mess? When I first saw the trailer for this, and saw that Cruise was in it, I thought this felt like an unusual career misstep for the megastar. After seeing the film, I’m even more mystified. Nick Morton is supposed to be an immoral bad guy. Immoral bad guy?? Tom Cruise?? Nope, you lost the audience on that one in the first ten minutes. Cruise, who is STILL only a year younger than I am (damn him, for real!) is still in great shape and must spend ALL his time in the gym. There must be a time soon coming though where he gets to a “Roger Moore in View to a Kill” moment where these action hero roles just no longer become credible anymore.
And what was Russell Crowe, as a famous / infamous (yes, both!) doctor from literature doing in this? His character’s involvement in the plot was almost completely inconsequential. In fact his ‘affliction’ only serves as a coincidental diversion (how convenient!) for bad Mummy-related action to happen. His character has no backstory and seems to serve only as a backbone for Universal’s “Dark Universe” franchise that this movie is supposed to launch. (Good luck with that Universal after this stinker!) Surely it would have made more sense to have the first film in the series to be the origins story for Crowe’s character and the organisation he sets up. This would have made far more sense.
Annabelle Wallis, who is sweet and “only” 22 years his junior, plays Cruise’s love interest in the film and equips herself well, given the material she has to play with. However (after “King Arthur: Legend of the Sword“) she must be kicking herself for not picking the ‘right’ summer blockbusters for her CV.
The main culprit here is the plot, which again is mystifying given that the writing team includes David Koepp (“Jurassic Park”; “Mission Impossible”); Christopher McQuarrie (“The Usual Suspects”, “Edge of Tomorrow“) and Jon Spaihts (“Mission Impossible: Rogue Nation“, “Doctor Strange“). A poor script can sometimes be salvaged by a good director, but here we have Alex Kurtzman, who has only one other directing credit to his name. And I’m afraid it shows. All round, not a good day at the office.
Brian Tyler did the music (aside from the Danny Elfman opening “Dark Universe” fanfare) but it comprises what I would term “running and jumping music”, with few discernible leitmotifs for the characters breaking through.
“Was that supposed to be funny?” My wife’s reaction after the film sums up that this really is a bit of a stinker. Best avoided.
It’s an ominous sign when a film starts with a voice-over (even if done by the sonorous tones of Russell Crowe). Regular readers of this blog will know I generally abhor voice-overs: it invariably belies a belief by the scriptwriters that they think the audience are too damn stupid to join up the plot-dots themselves. Here we portentously walk through the ancient Egyptian backstory of princess Ahmanet (Sofia Boutella, “Kingsman: The Secret Service“; “Star Trek Beyond“) cursed to become the titular Mummy. We then skip forward to the present day and the film settles down, promisingly enough, with scavenging adventurer Nick Morton (Cruise, in Indiana Jones mode), discovering a lost Egyptian temple in war-torn modern-day Mesopotamia that for the sake of the world should have stayed lost.
But after an impressive plane crash (with zero G scenes filmed for real in a “Vomit Comet”) the plot dissolves into a completely incoherent mush. With B-movie lines forcing B-movie acting performances, the film lurches from plot crisis to plot crisis in a similar manner to the comically lurching undead Zombie-like creatures that Ahmanet has sucked the life out of. (After 110 minutes of this, I know how they feel!)
What were actors of this calibre doing in this mess? When I first saw the trailer for this, and saw that Cruise was in it, I thought this felt like an unusual career misstep for the megastar. After seeing the film, I’m even more mystified. Nick Morton is supposed to be an immoral bad guy. Immoral bad guy?? Tom Cruise?? Nope, you lost the audience on that one in the first ten minutes. Cruise, who is STILL only a year younger than I am (damn him, for real!) is still in great shape and must spend ALL his time in the gym. There must be a time soon coming though where he gets to a “Roger Moore in View to a Kill” moment where these action hero roles just no longer become credible anymore.
And what was Russell Crowe, as a famous / infamous (yes, both!) doctor from literature doing in this? His character’s involvement in the plot was almost completely inconsequential. In fact his ‘affliction’ only serves as a coincidental diversion (how convenient!) for bad Mummy-related action to happen. His character has no backstory and seems to serve only as a backbone for Universal’s “Dark Universe” franchise that this movie is supposed to launch. (Good luck with that Universal after this stinker!) Surely it would have made more sense to have the first film in the series to be the origins story for Crowe’s character and the organisation he sets up. This would have made far more sense.
Annabelle Wallis, who is sweet and “only” 22 years his junior, plays Cruise’s love interest in the film and equips herself well, given the material she has to play with. However (after “King Arthur: Legend of the Sword“) she must be kicking herself for not picking the ‘right’ summer blockbusters for her CV.
The main culprit here is the plot, which again is mystifying given that the writing team includes David Koepp (“Jurassic Park”; “Mission Impossible”); Christopher McQuarrie (“The Usual Suspects”, “Edge of Tomorrow“) and Jon Spaihts (“Mission Impossible: Rogue Nation“, “Doctor Strange“). A poor script can sometimes be salvaged by a good director, but here we have Alex Kurtzman, who has only one other directing credit to his name. And I’m afraid it shows. All round, not a good day at the office.
Brian Tyler did the music (aside from the Danny Elfman opening “Dark Universe” fanfare) but it comprises what I would term “running and jumping music”, with few discernible leitmotifs for the characters breaking through.
“Was that supposed to be funny?” My wife’s reaction after the film sums up that this really is a bit of a stinker. Best avoided.
Bob Mann (459 KP) rated Darkest Hour (2017) in Movies
Sep 29, 2021
Not buggering it up.
As Doctor Who repeatedly points out, time is most definitely a tricksy thing. As I think I’ve commented on before, the events of 1940-45 are not in my lifetime but were sufficiently fresh to my parents that they were still actively talked about… so they still appear “current” to me. But I find it astonishing to realize that to a teen viewer this film is equivalent in timeframe to the sinking of the Titanic! #ancienthistory! So I suspect your connection to this film will be strongly affected by your age, and that was definitely reflected in the average age at my showing which must have been at least 60.
It’s 1940 and Western Europe is under siege. Neville Chamberlain (Ronald Pickup, “The Second Best Exotic Marigold Hotel“) is the Conservative Prime Minister but is voted out of office in an attempt to form a grand coalition government with Labour leader Clement Atlee (David Schofield). Despite appearing a shoe-in for the role, Viscount Halifax (Stephen Dillane) turns it down, thinking that his alternative (and bête noire) would drink from the poisoned chalice and be quickly be out of his (and Chamberlain’s) hair. For that alternative choice is the volatile and unpredictable Churchill (Gary Oldman), grudgingly invited into the job by King George VI (Ben Mendelsohn, “Rogue One“). With the Nazi’s bearing down on the 300,000 encircled troops at Dunkirk, and with calls from his war cabinet to capitulate and seek terms of settlement, this is indeed both Churchill’s, and the country’s, ‘darkest hour’.
Despite the woeful lack of historical knowledge among today’s youngsters, most will be at least aware of the story of Dunkirk, with many having absorbed Christopher Nolan’s film of last summer. This film is almost the matching bookend to that film, showing the terrifying behind-closed-door events that led up to that miracle. For it was terrifying seeing how close Britain came to the brink, and I’m not sure even I really appreciated that before. While this might have been a “thriller” if it had been a fictional story, we well know the outcome of the story: but even with this knowledge I still found the film to be extremely tense and claustrophobic as the net draws in around Churchill’s firmly-held beliefs.
Gary Oldman’s performance is extraordinary, and his award nominations are well-deserved. We have grown so used to some of his more over-the-top Russian portrayals in films like “Air Force One” and last year’s (pretty poor) “The Hitman’s Bodyguard” that it is easy to forget what a nuanced and flexible actor he is. Ever since that “No, surely not!” moment of that first glimpse of the film’s trailer, it has almost been impossible to ‘see’ Oldman behind the brilliant make-up of the character (Kazuhiro Tsuji gets a special credit for it). But his eyes are in there, and there are some extreme close-ups (for example, during a bizarre and tense phone call with Roosevelt (David Strathairn)) when you suddenly see “There you are!”.
The supportive wife – Clemmie (Kristin Scott Thomas) gives Winston (Gary Oldman) a hug.
While I have nothing against Brian Cox as an actor, I far prefer the portrayal of Churchill on show here compared to last year’s “Churchill“: true that that film was set three or four stressful years later, but Cox’s Churchill was portrayed as an incompetent fool, an embarrassment to the establishment that have to work around him. Oldman’s Churchill is irascible, unreasonable, but undeniably a leader and a great orator.
Mirroring “Churchill” though, the action is seen through the eyes of Churchill’s put-upon secretary, here played delightfully by Lily James (“Downton Abbey”, “Baby Driver“) who perfectly looks and sounds the part. The character is more successful than that of Ella Purnell’s Garrett in that she is given more room to develop her character and for the audience to warm to her. Oldman is getting all the kudos, but Lily James really deserves some for her touching and engaging performance here.
Perfectly cast: Lily James as Churchill’s secretary Elizabeth Layton.
Also in Oldman’s shadow is the always marvelous Kristin Scott Thomas (“Four Weddings and a Funeral”, “The English Patient”) as Clemmie Churchill, expressing all the love and frustration associated with being a long-suffering wife to an over-worked husband in the public service.
At the pen is “The Theory of Everything” writer Anthony McCarten, and I’d like to say its a great script but with most of the best lines (“a sheep in sheep’s clothing” – LoL) coming from Winston himself it’s difficult to tell. Some of the scenes can get a bit laborious and at 125 minutes – though not long by any means – the script could still perhaps have had a nip and tuck here and there.
Where some of this time is well spent though is in some sedate shots of London street life, across two separate scenes panning across everyday folk as the stresses of war start to become more evident. This is just one of the areas where director Joe Wright (“Atonement”, “Pride and Prejudice”) shows considerable panache, ably assisted by the cinematography of Bruno Delbonnel (“Inside Llewyn Davis“): a boy closes his telescope-fingers around Churchill’s plane; a bomb’s eye-view of the beleaguered Brigadier Nicholson in Calais; and – very impressively – the smoky imperiousness of the House of Commons set.
An atmospheric chamber: the recreation of the wartime House of Commons is spectacular (with production design by Sarah Greenwood (“Anna Karenina”, “Atonement”)).
And most-importantly Wright delivers what Christopher Nolan couldn’t deliver in “Dunkirk“: a properly CGI’d vista of hundred of small boats crossing the channel to Dunkirk. Now THAT is a scene that Kenneth Branagh could justly have looked in awe at!!!
There are a number of scenes that require disbelief to be suspended though: the biggest one being a tube train ride – very moving and effective I must say – but one that features the longest journey between any two stations on the District Line than has ever been experienced!
One stop on the District Line via Westminster…. via Harrow-on-the-Hill!
So this is a great film for really reliving a knife-edge moment in British history, and is highly recommended particularly for older viewers. If I’m honest though, between “Darkest Hour”, “Churchill” and John Lithgow’s excellent portrayal in “The Crown” I’m all over portrayals of the great man for a few years. Can we please move on now Hollywood?
It’s 1940 and Western Europe is under siege. Neville Chamberlain (Ronald Pickup, “The Second Best Exotic Marigold Hotel“) is the Conservative Prime Minister but is voted out of office in an attempt to form a grand coalition government with Labour leader Clement Atlee (David Schofield). Despite appearing a shoe-in for the role, Viscount Halifax (Stephen Dillane) turns it down, thinking that his alternative (and bête noire) would drink from the poisoned chalice and be quickly be out of his (and Chamberlain’s) hair. For that alternative choice is the volatile and unpredictable Churchill (Gary Oldman), grudgingly invited into the job by King George VI (Ben Mendelsohn, “Rogue One“). With the Nazi’s bearing down on the 300,000 encircled troops at Dunkirk, and with calls from his war cabinet to capitulate and seek terms of settlement, this is indeed both Churchill’s, and the country’s, ‘darkest hour’.
Despite the woeful lack of historical knowledge among today’s youngsters, most will be at least aware of the story of Dunkirk, with many having absorbed Christopher Nolan’s film of last summer. This film is almost the matching bookend to that film, showing the terrifying behind-closed-door events that led up to that miracle. For it was terrifying seeing how close Britain came to the brink, and I’m not sure even I really appreciated that before. While this might have been a “thriller” if it had been a fictional story, we well know the outcome of the story: but even with this knowledge I still found the film to be extremely tense and claustrophobic as the net draws in around Churchill’s firmly-held beliefs.
Gary Oldman’s performance is extraordinary, and his award nominations are well-deserved. We have grown so used to some of his more over-the-top Russian portrayals in films like “Air Force One” and last year’s (pretty poor) “The Hitman’s Bodyguard” that it is easy to forget what a nuanced and flexible actor he is. Ever since that “No, surely not!” moment of that first glimpse of the film’s trailer, it has almost been impossible to ‘see’ Oldman behind the brilliant make-up of the character (Kazuhiro Tsuji gets a special credit for it). But his eyes are in there, and there are some extreme close-ups (for example, during a bizarre and tense phone call with Roosevelt (David Strathairn)) when you suddenly see “There you are!”.
The supportive wife – Clemmie (Kristin Scott Thomas) gives Winston (Gary Oldman) a hug.
While I have nothing against Brian Cox as an actor, I far prefer the portrayal of Churchill on show here compared to last year’s “Churchill“: true that that film was set three or four stressful years later, but Cox’s Churchill was portrayed as an incompetent fool, an embarrassment to the establishment that have to work around him. Oldman’s Churchill is irascible, unreasonable, but undeniably a leader and a great orator.
Mirroring “Churchill” though, the action is seen through the eyes of Churchill’s put-upon secretary, here played delightfully by Lily James (“Downton Abbey”, “Baby Driver“) who perfectly looks and sounds the part. The character is more successful than that of Ella Purnell’s Garrett in that she is given more room to develop her character and for the audience to warm to her. Oldman is getting all the kudos, but Lily James really deserves some for her touching and engaging performance here.
Perfectly cast: Lily James as Churchill’s secretary Elizabeth Layton.
Also in Oldman’s shadow is the always marvelous Kristin Scott Thomas (“Four Weddings and a Funeral”, “The English Patient”) as Clemmie Churchill, expressing all the love and frustration associated with being a long-suffering wife to an over-worked husband in the public service.
At the pen is “The Theory of Everything” writer Anthony McCarten, and I’d like to say its a great script but with most of the best lines (“a sheep in sheep’s clothing” – LoL) coming from Winston himself it’s difficult to tell. Some of the scenes can get a bit laborious and at 125 minutes – though not long by any means – the script could still perhaps have had a nip and tuck here and there.
Where some of this time is well spent though is in some sedate shots of London street life, across two separate scenes panning across everyday folk as the stresses of war start to become more evident. This is just one of the areas where director Joe Wright (“Atonement”, “Pride and Prejudice”) shows considerable panache, ably assisted by the cinematography of Bruno Delbonnel (“Inside Llewyn Davis“): a boy closes his telescope-fingers around Churchill’s plane; a bomb’s eye-view of the beleaguered Brigadier Nicholson in Calais; and – very impressively – the smoky imperiousness of the House of Commons set.
An atmospheric chamber: the recreation of the wartime House of Commons is spectacular (with production design by Sarah Greenwood (“Anna Karenina”, “Atonement”)).
And most-importantly Wright delivers what Christopher Nolan couldn’t deliver in “Dunkirk“: a properly CGI’d vista of hundred of small boats crossing the channel to Dunkirk. Now THAT is a scene that Kenneth Branagh could justly have looked in awe at!!!
There are a number of scenes that require disbelief to be suspended though: the biggest one being a tube train ride – very moving and effective I must say – but one that features the longest journey between any two stations on the District Line than has ever been experienced!
One stop on the District Line via Westminster…. via Harrow-on-the-Hill!
So this is a great film for really reliving a knife-edge moment in British history, and is highly recommended particularly for older viewers. If I’m honest though, between “Darkest Hour”, “Churchill” and John Lithgow’s excellent portrayal in “The Crown” I’m all over portrayals of the great man for a few years. Can we please move on now Hollywood?
Chris Sawin (602 KP) rated Batman Gotham Knight (2008) in Movies
Jun 18, 2019
Batman: Gotham Knight was originally advertised as an animated feature that bridged the gap between Batman Begins and The Dark Knight, but it’s more of a Batman in his early stages becoming the legendary crime fighting vigilante he’s known as today. There are six segments in total with each segment having a different production studio.
The first segment is entitled, “Have I Got a Story For You,” and it’s written by Josh Olson (A History of Violence) and animated by Studio 4°C (Berserk: Golden Age Arc, Mind Game). The segment follows a boy who is waiting for his friends to arrive. Once they do, each of them tells a different story relating to what incredible Batman incident they witnessed that day. Each retelling is farfetched in its own way as this story capitalizes on teenagers stretching the truth and having overactive imaginations. Their day doesn’t seem to be finished though as the fight they all witnessed makes its way to their local hangout; the skate park.
“Crossfire” is written by Greg Rucka (Gotham, Jessica Jones) and animated by Production I.G. (FLCL, Ghost in the Shell: Stand Alone Complex). This segment focuses on Chris and Anna being a part of Lieutenant Gordon’s MCU (Major Crime Unit). Chris thinks Batman is a vigilante that takes the law into his hands while Anna is still unsure about him and is just thankful that good cops that know how to do their job are actually being respected now that Batman has become part of the picture. After taking a recent Arkham escapee back to the asylum, Chris and Anna soon realize that they’re stuck in the middle of a gang war between Sal Maroni and The Russian.
“Field Test” is written by Jordan Goldberg (Westworld) and animated by Bee Train (.hack//Sign, Blade of the Immortal). Lucius Fox is showing Bruce Wayne some new gadgets. Amongst them is a harness equipped with an electromagnetic pulse strong enough to deflect bullets. Batman decides to test it out with Maroni, The Russian, and his goons. Everything seems to be going well until Batman encounters a glitch.
“In Darkness Dwells” is written by David S. Goyer (the Blade franchise, Man of Steel) and animated by Madhouse (One Punch Man, Death Note). Everyone is hunting Killer Croc. For this story, Croc is a former patient of Jonathan Crane/The Scarecrow and one of the reasons he was admitted to Dr. Crane was for his fear of bats.
“Working Through Pain” is written by Brian Azzarello (Batman: The Killing Joke) and animated by Studio 4°C. Batman is injured on what seems like any other night he puts his mask on. His tenacity takes center stage as you witness how often he struggles with nightly injuries. There are also flashbacks to his past that illustrate the difference between exterior and interior pain. There’s a way to put pain in its place and this is how Bruce Wayne found out how.
“Deadshot” is written by Alan Burnett (Batman: Mask of the Phantasm) and animated by Madhouse. Deadshot has returned to Gotham and has set his sights on Jim Gordon, but he looks to have ulterior motives. You also learn about how Bruce Wayne feels about guns.
Gotham Knight is superbly animated and has an accessible flow to it despite its various stories and alternating casts. The animation is fantastic as everything moves crisply and smoothly. The artistic style may change from story to story, but the voice cast is the same throughout. While each individual story has its own narrative to tell, everything is connected in some way that flows together nicely. This was one of the first times Kevin Conroy returned to voice Batman and his voice has become the iconic Batman voice for anyone who grew up watching Batman: The Animated Series. Hearing Conroy as Batman is like a homecoming in so many ways.
Whether you’re an anime fan, a Batman fan, or you’re looking for something new to catch your eye, Gotham Knight is worthwhile for animation and comic book fans alike. The animation is beautiful and the stories are enticing enough to keep you interested throughout. Kevin Conroy is the real drawing point here, but the rest of the voice cast is solid, as well. The Batman Begins/The Dark Knight connections are mostly hogwash as the animated feature adds nothing to Christopher Nolan’s Batman universe, but is an entertaining way to spend 76-minutes nevertheless.
Batman: Gotham Knight is available to stream on Amazon Prime, YouTube, Vudu, and Google Play for $2.99 and iTunes for $3.99. The Multi-Format Blu-ray is available on Amazon for $7.32 and as a double feature Blu-ray with Batman: Year One for $17.97. The Gotham Knight/Year One Blu-ray is $9.08 on eBay and the Multi-Format Blu-ray is $6.99; both are in brand new condition and both have free shipping.
The first segment is entitled, “Have I Got a Story For You,” and it’s written by Josh Olson (A History of Violence) and animated by Studio 4°C (Berserk: Golden Age Arc, Mind Game). The segment follows a boy who is waiting for his friends to arrive. Once they do, each of them tells a different story relating to what incredible Batman incident they witnessed that day. Each retelling is farfetched in its own way as this story capitalizes on teenagers stretching the truth and having overactive imaginations. Their day doesn’t seem to be finished though as the fight they all witnessed makes its way to their local hangout; the skate park.
“Crossfire” is written by Greg Rucka (Gotham, Jessica Jones) and animated by Production I.G. (FLCL, Ghost in the Shell: Stand Alone Complex). This segment focuses on Chris and Anna being a part of Lieutenant Gordon’s MCU (Major Crime Unit). Chris thinks Batman is a vigilante that takes the law into his hands while Anna is still unsure about him and is just thankful that good cops that know how to do their job are actually being respected now that Batman has become part of the picture. After taking a recent Arkham escapee back to the asylum, Chris and Anna soon realize that they’re stuck in the middle of a gang war between Sal Maroni and The Russian.
“Field Test” is written by Jordan Goldberg (Westworld) and animated by Bee Train (.hack//Sign, Blade of the Immortal). Lucius Fox is showing Bruce Wayne some new gadgets. Amongst them is a harness equipped with an electromagnetic pulse strong enough to deflect bullets. Batman decides to test it out with Maroni, The Russian, and his goons. Everything seems to be going well until Batman encounters a glitch.
“In Darkness Dwells” is written by David S. Goyer (the Blade franchise, Man of Steel) and animated by Madhouse (One Punch Man, Death Note). Everyone is hunting Killer Croc. For this story, Croc is a former patient of Jonathan Crane/The Scarecrow and one of the reasons he was admitted to Dr. Crane was for his fear of bats.
“Working Through Pain” is written by Brian Azzarello (Batman: The Killing Joke) and animated by Studio 4°C. Batman is injured on what seems like any other night he puts his mask on. His tenacity takes center stage as you witness how often he struggles with nightly injuries. There are also flashbacks to his past that illustrate the difference between exterior and interior pain. There’s a way to put pain in its place and this is how Bruce Wayne found out how.
“Deadshot” is written by Alan Burnett (Batman: Mask of the Phantasm) and animated by Madhouse. Deadshot has returned to Gotham and has set his sights on Jim Gordon, but he looks to have ulterior motives. You also learn about how Bruce Wayne feels about guns.
Gotham Knight is superbly animated and has an accessible flow to it despite its various stories and alternating casts. The animation is fantastic as everything moves crisply and smoothly. The artistic style may change from story to story, but the voice cast is the same throughout. While each individual story has its own narrative to tell, everything is connected in some way that flows together nicely. This was one of the first times Kevin Conroy returned to voice Batman and his voice has become the iconic Batman voice for anyone who grew up watching Batman: The Animated Series. Hearing Conroy as Batman is like a homecoming in so many ways.
Whether you’re an anime fan, a Batman fan, or you’re looking for something new to catch your eye, Gotham Knight is worthwhile for animation and comic book fans alike. The animation is beautiful and the stories are enticing enough to keep you interested throughout. Kevin Conroy is the real drawing point here, but the rest of the voice cast is solid, as well. The Batman Begins/The Dark Knight connections are mostly hogwash as the animated feature adds nothing to Christopher Nolan’s Batman universe, but is an entertaining way to spend 76-minutes nevertheless.
Batman: Gotham Knight is available to stream on Amazon Prime, YouTube, Vudu, and Google Play for $2.99 and iTunes for $3.99. The Multi-Format Blu-ray is available on Amazon for $7.32 and as a double feature Blu-ray with Batman: Year One for $17.97. The Gotham Knight/Year One Blu-ray is $9.08 on eBay and the Multi-Format Blu-ray is $6.99; both are in brand new condition and both have free shipping.
Chris Sawin (602 KP) rated Anchorman - The Legend Of Ron Burgundy (2004) in Movies
Jun 18, 2019
How in the world do you review a film like Anchorman: The Legend of Ron Burgundy? The film is meant to be as ridiculous as possible with outrageous performances and a paper thin storyline; half of its charm is its overuse of improvisation. You either found its absurd nature hilarious and consider it one of the funniest films ever (and completely ignore the horrid sequel) or hate it for being a nonsensical comedy filled with a cast of immature people who can’t hold a straight face for a single take. It’s honestly difficult to argue either perspective, but the 20-year-old version of this critic who saw this film and adored it would drop dead if he found out that it doesn’t hold up as well nearly 15 years later.
It’s 1974 and on the local San Diego news station KVWN channel 4 newscaster Ron Burgundy (Will Ferrell) is king since channel 4 is always number one in the ratings. His news team consists of sports newscaster Champ Kind (David Koechner), investigative news reporter Brian Fantana (Paul Rudd), and weatherman Brick Tamland (Steve Carell). Up until this point, only men were allowed to read the news but a new female co-anchor named Veronica Corningstone (Christina Applegate) is hired by channel 4 and has bigger plans. Veronica is ambitious, has a ton of experience, and envisions herself as one day becoming a lead network anchor. Tensions rise and feuds flare up, but times are changing and it’s something everyone, including Ron Burgundy, is going to have to deal with.
Anchorman is a tricky comedy because it throws all of its success into this random formula. There is a plot, but it takes a backseat to the memorable and hysterical one-liners from the film. These one-liners are phrases that you’ll be saying for years to come as a few will likely become household favorites if you or your family has any sort of taste whatsoever. With the absolute blessing of owning so many cats, a common phrase from Anchorman that gets repeated around here on a regular basis is, “You will eat that cat poop!” With a comedy this spontaneous, it’s difficult to comment on aspects such as the story since it shouldn’t be taken as seriously as a film where the story actually matters. Anchorman isn’t trying to win any awards. This is a film that is only trying to make its audience laugh and if it does that then it has to be successful in some sort of capacity. The cast absolutely embodies these characters to a fairly flawless extent. Being so absorbed in these roles makes the absurdity more believable and slightly easier to swallow.
Before Will Ferrell became unbearable, the holy trinity of Will Ferrell comedies were Step Brothers, Anchorman, and Talladega Nights; in that order (unless his cameo in Wedding Crashers counts). This was the early and late 2000s before Farrell’s on-screen antics had grown stale. Most of Farrell’s films follow the same generic formula; a nonexistent plot followed by a series of aimless one-liners and spitfire jokes that come out of nowhere. Ferrell’s career is well past the redundant stage as his more serious roles show more promise these days than his exasperating comedies. That formula was still working with Anchorman and it seems to have worked for many other who saw it as the film garnered a cult status over time.
Anchorman: The Legend of Ron Burgundy isn’t going to be for everyone and it’s totally understandable if you or someone you know downright hates the film. It is absolutely moronic in its execution, but for those who love it that is why it’s as funny as it is. There isn’t a riveting story, impressive character development, or a steady buildup towards anything worthwhile (unless Jack Black dropkicking a fake dog off of an overpass counts as a proper climax). Anchorman has the attention span of a Family Guy cutaway gag. If you enjoy Family Guy, then Anchorman is probably one of your favorite movies.
This is like getting together with a bunch of friends and laughing at stupid stuff because you’re loaded on sugar, but Anchorman stretches out that feeling for an hour and a half; it’s a 90-minute sugar rush with no breaks. It’s like snorting Pixie Stix and laughing like an idiot for an hour straight or chugging a two-liter Coke and inhaling seven packets of Pop Rocks and laughing at your stomach not exploding. You don’t watch Anchorman to ponder your life choices or be amazed at technical achievements in filmmaking. This is a paper thin comedy that only wants to make you laugh and forget about how hard it is to make adult decisions in the overly intimidating modern world for a short hour and a half time period. If Anchorman can accomplish all of that and you quote it like a giggling idiot, then the two of us have something in common and Anchorman: The Legend of Ron Burgundy should be considered as a masterwork in hilarious idiocy.
Anchorman: The Legend of Ron Burgundy is currently available to rent via Amazon Video, Youtube, Vudu, and Google Play for $2.99 and through iTunes for $3.99. The Unrated DVD is available as an add-on item through Amazon for $3.99, multi-format Blu-ray for $6.98, and the unrated Rich Mahogany Blu-ray for $5.99. It’s also available on DVD ($2.45) and Blu-ray ($3.65) through eBay with free shipping.
It’s 1974 and on the local San Diego news station KVWN channel 4 newscaster Ron Burgundy (Will Ferrell) is king since channel 4 is always number one in the ratings. His news team consists of sports newscaster Champ Kind (David Koechner), investigative news reporter Brian Fantana (Paul Rudd), and weatherman Brick Tamland (Steve Carell). Up until this point, only men were allowed to read the news but a new female co-anchor named Veronica Corningstone (Christina Applegate) is hired by channel 4 and has bigger plans. Veronica is ambitious, has a ton of experience, and envisions herself as one day becoming a lead network anchor. Tensions rise and feuds flare up, but times are changing and it’s something everyone, including Ron Burgundy, is going to have to deal with.
Anchorman is a tricky comedy because it throws all of its success into this random formula. There is a plot, but it takes a backseat to the memorable and hysterical one-liners from the film. These one-liners are phrases that you’ll be saying for years to come as a few will likely become household favorites if you or your family has any sort of taste whatsoever. With the absolute blessing of owning so many cats, a common phrase from Anchorman that gets repeated around here on a regular basis is, “You will eat that cat poop!” With a comedy this spontaneous, it’s difficult to comment on aspects such as the story since it shouldn’t be taken as seriously as a film where the story actually matters. Anchorman isn’t trying to win any awards. This is a film that is only trying to make its audience laugh and if it does that then it has to be successful in some sort of capacity. The cast absolutely embodies these characters to a fairly flawless extent. Being so absorbed in these roles makes the absurdity more believable and slightly easier to swallow.
Before Will Ferrell became unbearable, the holy trinity of Will Ferrell comedies were Step Brothers, Anchorman, and Talladega Nights; in that order (unless his cameo in Wedding Crashers counts). This was the early and late 2000s before Farrell’s on-screen antics had grown stale. Most of Farrell’s films follow the same generic formula; a nonexistent plot followed by a series of aimless one-liners and spitfire jokes that come out of nowhere. Ferrell’s career is well past the redundant stage as his more serious roles show more promise these days than his exasperating comedies. That formula was still working with Anchorman and it seems to have worked for many other who saw it as the film garnered a cult status over time.
Anchorman: The Legend of Ron Burgundy isn’t going to be for everyone and it’s totally understandable if you or someone you know downright hates the film. It is absolutely moronic in its execution, but for those who love it that is why it’s as funny as it is. There isn’t a riveting story, impressive character development, or a steady buildup towards anything worthwhile (unless Jack Black dropkicking a fake dog off of an overpass counts as a proper climax). Anchorman has the attention span of a Family Guy cutaway gag. If you enjoy Family Guy, then Anchorman is probably one of your favorite movies.
This is like getting together with a bunch of friends and laughing at stupid stuff because you’re loaded on sugar, but Anchorman stretches out that feeling for an hour and a half; it’s a 90-minute sugar rush with no breaks. It’s like snorting Pixie Stix and laughing like an idiot for an hour straight or chugging a two-liter Coke and inhaling seven packets of Pop Rocks and laughing at your stomach not exploding. You don’t watch Anchorman to ponder your life choices or be amazed at technical achievements in filmmaking. This is a paper thin comedy that only wants to make you laugh and forget about how hard it is to make adult decisions in the overly intimidating modern world for a short hour and a half time period. If Anchorman can accomplish all of that and you quote it like a giggling idiot, then the two of us have something in common and Anchorman: The Legend of Ron Burgundy should be considered as a masterwork in hilarious idiocy.
Anchorman: The Legend of Ron Burgundy is currently available to rent via Amazon Video, Youtube, Vudu, and Google Play for $2.99 and through iTunes for $3.99. The Unrated DVD is available as an add-on item through Amazon for $3.99, multi-format Blu-ray for $6.98, and the unrated Rich Mahogany Blu-ray for $5.99. It’s also available on DVD ($2.45) and Blu-ray ($3.65) through eBay with free shipping.
Connor Sheffield (293 KP) rated The Company of Wolves (1984) in Movies
Apr 19, 2017
Very Different from most films (3 more)
Transformation Sequences
Great Cast
Brilliant lore
May seem confusing (1 more)
Rosaleen younger than originally planned
Of Wolves and Men
Where do I begin when reviewing a film as obscure and brilliant as, The Company of Wolves. Well for starters I should probably introduce it as it's not a film a lot of people are aware of.
The Company of Wolves is a British Gothic Horror movie adapted from an Anthology of short stories called The Curious Room, written by Angela Carter, and the short story that the film was adapted from was in fact of the same name, The Company of Wolves.
Angela Carter worked with Neil Jordan to write the screenplay and whilst it has some differences (I've not yet read the original story so I couldn't tell you the differences....just google it) the movie is still pretty close to the source material from what I have heard.
One thing I can tell you about this film is that it is brilliant and unlike anything you will ever watch (at least its unlike anything I have seen as of writing this). When I first watched this film, my initial thought was "What on earth did I just watch?" and after viewing it several more times I understood more and more and each viewing was like a new experience.
It's cast add to the creepy dark tone of the film whilst still feeling like a light fantasy film, but with gore and death. The soundtrack is certainly the creepiest element of the film, and it creates an eerily uncomfortable atmosphere. To add to this atmosphere we have a cast that includes the likes of famous names such as Angela Lansbury (Bedknobs and Broomsticks, Beauty and the Beast, Murder She Wrote etc.), Stephen Rea (V for Vendetta, The Crying Game, Underworld: Awakening etc.), David Warner (Titanic, Tron, The Omen etc.) and Brian Glover (An American Werewolf in London, Alien 3, KES etc.) just to name a few, but we also have brilliant talent from lesser known actors\actresses such as Micha Bergese (Interview With A Vampire) and the lead role of young Rosaleen, portrayed by Sarah Patterson who only ever starred in 3 more films after The Company of Wolves.
So why do I love this movie? I have a love for werewolf lore and the subtle messages about reality the legends may be formed from and this film explores some of that. With Angela Lansbury as Granny telling young Rosaleen stories about how she shouldn't trust men who's eyebrows meet, and how she shouldn't stray from the path when walking through the forest. Tradition superstition that were actual beliefs many years ago. The Company of Wolves is a combination of stories, but with an overall plot similar in many ways to that of Little Red Riding Hood, including Granny knitting Rosaleen a red shoal, and being challenged by a huntsman to a race to Granny's house, which concludes with SPOILERS!!!!
Granny is murdered, and the huntsman is discovered by Rosaleen who them puts the pieces of the puzzle together and comes to the truthful conclusion that the huntsman is in fact a werewolf.
However, my only issue with the film is not being able to explore the story properly, as the casting of Rosaleen was actually too young for the original script. The film is a somewhat coming of age movie for Rosaleen and a young boy who is infatuated with her (known only in the credits as Amerous Boy, portrayed by Shane Johnstone. Never heard of him? That's because this was his only movie). The original script was essentially going to explore more of the sexuality between a young girl and the handsome stranger known as The Huntsman. However, during casting, Sarah Patterson shined above the other young performers and was chosen for the role, but due to her being so young (only 12/13 years old) they had to change the script and so their interaction was reduced to nothing more than a bet which would lead to a kiss, but the kiss is then a simple peck on the lips as the Rosaleen jumps back with the line "My what big teeth you have!".
Here's a tip when you watch this movie. Look around Rosaleens room at the beginning and pay attention to her dolls etc. Some of the props will help the film make more sense because one thing I should have mentioned at the start is that this story takes place in a young girls dream (Also portrayed by Sarah Patterson) and the finale is spectacular.
The wolves for the majority of their appearances are easily noticeable as being nothing more than domestic German Shepherds, but that makes sense when you think about this being a girl's dream, and this girl in fact owns a pet German Shepherd.
The best part and the most horrific part of this movie, is the transformations of two of the characters. Stephen Rea's character is a young groom in one of Granny's stories that she tells to Rosaleen, and his transformation into wolf form is one of the most graphic transformations I have ever seen in a film, and despite the use of an animatronic dog, which in part takes away some of the magic, you have to remember this was 1984 and these kinds of films were not going to have the amazing technology we have today and you have to give so much credit and respect to Neil Jordan for using practical effects.
The Huntsmans transformation is less gory but definitely not any less creepier, as we see an extended tongue, and a lot of physical body transformation before a wolf snout comes bursting out of his mouth and fur rips through his skin. Both of these portrayals of the transformation were a representation of the running theme that men have beasts inside of them, that only appear when they are angry or upset.
I highly recommend this film, but I have warned you beforehand. If you do watch this film, feel free to discuss it with me because as I said it is one of my favourites and is lesser known to many audiences.
The Company of Wolves is a British Gothic Horror movie adapted from an Anthology of short stories called The Curious Room, written by Angela Carter, and the short story that the film was adapted from was in fact of the same name, The Company of Wolves.
Angela Carter worked with Neil Jordan to write the screenplay and whilst it has some differences (I've not yet read the original story so I couldn't tell you the differences....just google it) the movie is still pretty close to the source material from what I have heard.
One thing I can tell you about this film is that it is brilliant and unlike anything you will ever watch (at least its unlike anything I have seen as of writing this). When I first watched this film, my initial thought was "What on earth did I just watch?" and after viewing it several more times I understood more and more and each viewing was like a new experience.
It's cast add to the creepy dark tone of the film whilst still feeling like a light fantasy film, but with gore and death. The soundtrack is certainly the creepiest element of the film, and it creates an eerily uncomfortable atmosphere. To add to this atmosphere we have a cast that includes the likes of famous names such as Angela Lansbury (Bedknobs and Broomsticks, Beauty and the Beast, Murder She Wrote etc.), Stephen Rea (V for Vendetta, The Crying Game, Underworld: Awakening etc.), David Warner (Titanic, Tron, The Omen etc.) and Brian Glover (An American Werewolf in London, Alien 3, KES etc.) just to name a few, but we also have brilliant talent from lesser known actors\actresses such as Micha Bergese (Interview With A Vampire) and the lead role of young Rosaleen, portrayed by Sarah Patterson who only ever starred in 3 more films after The Company of Wolves.
So why do I love this movie? I have a love for werewolf lore and the subtle messages about reality the legends may be formed from and this film explores some of that. With Angela Lansbury as Granny telling young Rosaleen stories about how she shouldn't trust men who's eyebrows meet, and how she shouldn't stray from the path when walking through the forest. Tradition superstition that were actual beliefs many years ago. The Company of Wolves is a combination of stories, but with an overall plot similar in many ways to that of Little Red Riding Hood, including Granny knitting Rosaleen a red shoal, and being challenged by a huntsman to a race to Granny's house, which concludes with SPOILERS!!!!
Granny is murdered, and the huntsman is discovered by Rosaleen who them puts the pieces of the puzzle together and comes to the truthful conclusion that the huntsman is in fact a werewolf.
However, my only issue with the film is not being able to explore the story properly, as the casting of Rosaleen was actually too young for the original script. The film is a somewhat coming of age movie for Rosaleen and a young boy who is infatuated with her (known only in the credits as Amerous Boy, portrayed by Shane Johnstone. Never heard of him? That's because this was his only movie). The original script was essentially going to explore more of the sexuality between a young girl and the handsome stranger known as The Huntsman. However, during casting, Sarah Patterson shined above the other young performers and was chosen for the role, but due to her being so young (only 12/13 years old) they had to change the script and so their interaction was reduced to nothing more than a bet which would lead to a kiss, but the kiss is then a simple peck on the lips as the Rosaleen jumps back with the line "My what big teeth you have!".
Here's a tip when you watch this movie. Look around Rosaleens room at the beginning and pay attention to her dolls etc. Some of the props will help the film make more sense because one thing I should have mentioned at the start is that this story takes place in a young girls dream (Also portrayed by Sarah Patterson) and the finale is spectacular.
The wolves for the majority of their appearances are easily noticeable as being nothing more than domestic German Shepherds, but that makes sense when you think about this being a girl's dream, and this girl in fact owns a pet German Shepherd.
The best part and the most horrific part of this movie, is the transformations of two of the characters. Stephen Rea's character is a young groom in one of Granny's stories that she tells to Rosaleen, and his transformation into wolf form is one of the most graphic transformations I have ever seen in a film, and despite the use of an animatronic dog, which in part takes away some of the magic, you have to remember this was 1984 and these kinds of films were not going to have the amazing technology we have today and you have to give so much credit and respect to Neil Jordan for using practical effects.
The Huntsmans transformation is less gory but definitely not any less creepier, as we see an extended tongue, and a lot of physical body transformation before a wolf snout comes bursting out of his mouth and fur rips through his skin. Both of these portrayals of the transformation were a representation of the running theme that men have beasts inside of them, that only appear when they are angry or upset.
I highly recommend this film, but I have warned you beforehand. If you do watch this film, feel free to discuss it with me because as I said it is one of my favourites and is lesser known to many audiences.
Ivana A. | Diary of Difference (1171 KP) rated Wonder Woman: Her Greatest Battles in Books
Aug 21, 2018
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<img src="https://gipostcards.files.wordpress.com/2018/08/book-review-1.png"/>;
This is my first graphic novel, and I did enjoy the art in it! This book contains the greatest battles of Wonder Woman. It is a compilation of seven comic book scenes, all sharing a different battle of Wonder Woman, and a different kind of art.. But even though I enjoyed the art, as a first one, this didn’t make me happy.
The stories are put in this compilation chronologically by when they were made, starting from a scene that was made in 1987, until the last one, which was made in 2013. I will give a brief comment on all of them - in order:
<b>‘’Power Play’’ from Wonder Woman #6 (1987)
<i>Plot & Pencils: George Perez, Script: Len Wein, Inks: Bruce Patterson, Colors: Tatjana Wood, Letters: John Costanza, Cover: George Perez</i></b>
The first story is a scene where Diana is fighting the god of war - Ares. As a first one, it is not the best descriptive piece of information - so for a person that haven’t heard about Wonder Woman before, this one won’t be of any use. I also didn’t quite enjoy the art in this one.
<b><i>‘’And for the first time in his immortal existence, the war-god weeps… for, without those alive to worship him, Ares’ power swiftly wanes…’’</i></b>
<b>‘’In The Forest Of The Night’’ from Wonder Woman #119 (1997)
<i>Story & Art: John Byrne; Colors: Patricia Mulvihill; Cover: Jose Luis Garcia-Lopez</i></b>
In this scene, Diana is on a mission to save officer Michael P. Schorr of the G.C.P.D. from the cheetah that used to be Barbara Minerva. Diana manages to convince Barbara to win the battle with herself and become human again. Even though I didn’t quite enjoy the art - I did enjoy the story itself. It was a great lesson of fighting for who you are within, and winning battles with yourself and not surrendering to anything that might be in your way. We also get to have a little sneak-peak of how Wonder Woman started existing in the first place.
<b><i>‘’Yes, Mike, it is not widely known, but I was not born as mortals are, my mother sculpted a baby from the clay of Themyscira and the Gods themselves breathed life into that clay. ‘’</i></b>
<img src="https://gipostcards.files.wordpress.com/2018/08/book-cover-4.png"/>;
<b>‘’Stoned: Conclusion’’ from Wonder Woman #210 (2005)
<i>Script: Greg Rucka; Pencils: Drew Johnson; Inks: Ray Snyder; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
This one is a gladiator battle between Wonder Woman and Medusa. I really enjoyed this one, the art was amazing and we even get a few scenes with Circe-witch on it. I love how Wonder Woman is presented to be smart and the sacrifice that she made was very brave. Such a powerful story! Amazing!
<b>‘’Sacrifice: Part four’’ from Wonder Woman #219 (2005)
<i>Scripts: Greg Rucka; Pencils:Rags Morales, David Lopez, Tom Derenick, Georges Jeanty & Karl Kerschl; Inks: Mark Propst, BIT, Dexter Vines, Bob Petrecca & Nelson; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
Superman has been brainwashed and wants to kill Diana. Not much happens apart from Wonder Woman and Superman fighting. I didn’t like this one, only because of one quote that says:
<b><i>‘’You’ll forgive me for saying it, princess, but you look good on your knees…’’</i></b>
<b>‘’A Murder Of Crows: Part Two - Throwdown’’ from Wonder Woman #41 (2010)
<i>Script: Gail Simone; Pencils: Chris Batista & Fernando Dagnino; Inks: Doug Hazlewood & Raul Fernandez; Colors: Brad Anderson; Letters: Travis Lanham; Cover: Aaron Lopresti</i></b>
Even though the beginning features Achilles and Patroclus, after a page or two we don’t see them anymore, and I am standing like… what’s the point in mentioning them in the first place then? This piece of art contains a battle between Power Girl and Wonder Woman, and how Power Girl can never be like Wonder Woman, unless, of course, she has no other choice.
I liked this one, maybe the most, even though the art was just average.
<b>‘’Justice League: Part Three’’ from Justice League #3 (2011)
<i>Script: Geoff Johns; Pencils: Jim Lee; Inks: Scott Williams; Colors: Alex Sinclair, HI-FI & Gabe Ettaeb; Letters: Pat Brosseau; Cover: Jim Lee, Scott Williams & Alex Sinclair</i></b>
This piece of art was different than anything else in this book. We see a lot of famous heroes fight, like Superman, Batman, Green Lantern, Aquaman, and of course, Wonder Woman. The art is really colourful, which I enjoyed, but the story was confusing. See, it started from the middle of a comic book, and then ended unfinished. It only covered the part where Wonder Woman appears, but it confused me and I didn’t enjoy the story as much. Again, I didn’t like the way how they express themselves to a woman. They see Wonder Woman and they call dibs on her. Really?
<b>‘’Goddown’’ from Wonder Woman #23 (2013)
<i>Script: Brian Azzarello; Art: Cliff Chiang; Colors: Matthew Wilson; Letters: Jared K. Fletcher; Cover: Cliff Chiang </i></b>
A very confusing chapter, and I didn’t enjoy it at all. It was about Hera and her children, and Wonder Woman protecting them. Even though this is the newest made, it didn’t seem like it, and the art seemed old-style.
Overall, I didn’t enjoy it as much, and it wouldn’t be something I’d choose in the future. I’d rather go with a proper beginning-to-end story rather than a compilation next time.
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<img src="https://gipostcards.files.wordpress.com/2018/08/book-review-1.png"/>;
This is my first graphic novel, and I did enjoy the art in it! This book contains the greatest battles of Wonder Woman. It is a compilation of seven comic book scenes, all sharing a different battle of Wonder Woman, and a different kind of art.. But even though I enjoyed the art, as a first one, this didn’t make me happy.
The stories are put in this compilation chronologically by when they were made, starting from a scene that was made in 1987, until the last one, which was made in 2013. I will give a brief comment on all of them - in order:
<b>‘’Power Play’’ from Wonder Woman #6 (1987)
<i>Plot & Pencils: George Perez, Script: Len Wein, Inks: Bruce Patterson, Colors: Tatjana Wood, Letters: John Costanza, Cover: George Perez</i></b>
The first story is a scene where Diana is fighting the god of war - Ares. As a first one, it is not the best descriptive piece of information - so for a person that haven’t heard about Wonder Woman before, this one won’t be of any use. I also didn’t quite enjoy the art in this one.
<b><i>‘’And for the first time in his immortal existence, the war-god weeps… for, without those alive to worship him, Ares’ power swiftly wanes…’’</i></b>
<b>‘’In The Forest Of The Night’’ from Wonder Woman #119 (1997)
<i>Story & Art: John Byrne; Colors: Patricia Mulvihill; Cover: Jose Luis Garcia-Lopez</i></b>
In this scene, Diana is on a mission to save officer Michael P. Schorr of the G.C.P.D. from the cheetah that used to be Barbara Minerva. Diana manages to convince Barbara to win the battle with herself and become human again. Even though I didn’t quite enjoy the art - I did enjoy the story itself. It was a great lesson of fighting for who you are within, and winning battles with yourself and not surrendering to anything that might be in your way. We also get to have a little sneak-peak of how Wonder Woman started existing in the first place.
<b><i>‘’Yes, Mike, it is not widely known, but I was not born as mortals are, my mother sculpted a baby from the clay of Themyscira and the Gods themselves breathed life into that clay. ‘’</i></b>
<img src="https://gipostcards.files.wordpress.com/2018/08/book-cover-4.png"/>;
<b>‘’Stoned: Conclusion’’ from Wonder Woman #210 (2005)
<i>Script: Greg Rucka; Pencils: Drew Johnson; Inks: Ray Snyder; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
This one is a gladiator battle between Wonder Woman and Medusa. I really enjoyed this one, the art was amazing and we even get a few scenes with Circe-witch on it. I love how Wonder Woman is presented to be smart and the sacrifice that she made was very brave. Such a powerful story! Amazing!
<b>‘’Sacrifice: Part four’’ from Wonder Woman #219 (2005)
<i>Scripts: Greg Rucka; Pencils:Rags Morales, David Lopez, Tom Derenick, Georges Jeanty & Karl Kerschl; Inks: Mark Propst, BIT, Dexter Vines, Bob Petrecca & Nelson; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
Superman has been brainwashed and wants to kill Diana. Not much happens apart from Wonder Woman and Superman fighting. I didn’t like this one, only because of one quote that says:
<b><i>‘’You’ll forgive me for saying it, princess, but you look good on your knees…’’</i></b>
<b>‘’A Murder Of Crows: Part Two - Throwdown’’ from Wonder Woman #41 (2010)
<i>Script: Gail Simone; Pencils: Chris Batista & Fernando Dagnino; Inks: Doug Hazlewood & Raul Fernandez; Colors: Brad Anderson; Letters: Travis Lanham; Cover: Aaron Lopresti</i></b>
Even though the beginning features Achilles and Patroclus, after a page or two we don’t see them anymore, and I am standing like… what’s the point in mentioning them in the first place then? This piece of art contains a battle between Power Girl and Wonder Woman, and how Power Girl can never be like Wonder Woman, unless, of course, she has no other choice.
I liked this one, maybe the most, even though the art was just average.
<b>‘’Justice League: Part Three’’ from Justice League #3 (2011)
<i>Script: Geoff Johns; Pencils: Jim Lee; Inks: Scott Williams; Colors: Alex Sinclair, HI-FI & Gabe Ettaeb; Letters: Pat Brosseau; Cover: Jim Lee, Scott Williams & Alex Sinclair</i></b>
This piece of art was different than anything else in this book. We see a lot of famous heroes fight, like Superman, Batman, Green Lantern, Aquaman, and of course, Wonder Woman. The art is really colourful, which I enjoyed, but the story was confusing. See, it started from the middle of a comic book, and then ended unfinished. It only covered the part where Wonder Woman appears, but it confused me and I didn’t enjoy the story as much. Again, I didn’t like the way how they express themselves to a woman. They see Wonder Woman and they call dibs on her. Really?
<b>‘’Goddown’’ from Wonder Woman #23 (2013)
<i>Script: Brian Azzarello; Art: Cliff Chiang; Colors: Matthew Wilson; Letters: Jared K. Fletcher; Cover: Cliff Chiang </i></b>
A very confusing chapter, and I didn’t enjoy it at all. It was about Hera and her children, and Wonder Woman protecting them. Even though this is the newest made, it didn’t seem like it, and the art seemed old-style.
Overall, I didn’t enjoy it as much, and it wouldn’t be something I’d choose in the future. I’d rather go with a proper beginning-to-end story rather than a compilation next time.
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Zuky the BookBum (15 KP) rated Nightmares: A New Decade of Modern Horror in Books
Mar 15, 2018
Also read my review here: http://bookbum.weebly.com/book-reviews/nightmares-a-new-decade-of-modern-horror-by-various-authors
NOW AVAILABLE IN THE UK!
I decided that instead of rating this book overall, it would be better to rate each individual story, so that’s what I’ve done. Obviously I had to rate the overall book so I actually calculated the average of all the ratings lol.
<b><u>Shallaballah</b></u> by Mark Samuels
<i>1 star</i>
Not a good start to the book for me. I was over the stitched up face appearance, creepy hospital, shady operations kind of horror story long ago, so this did pretty much nothing for me. Yes there were creepy elements to it but not enough. I also get what it was trying to do with the whole vanity, television thing, but it didn’t really work and so for me, added nothing to the overall plot.
<b><u>Sob in the Silence</b></u> by Gene Wolfe
<i>3 stars</i>
This was a pretty good creepy story, I much prefer stories that don't really have any paranormal elements to them and are more about the madness of the human brain. This short story had a bit of both to it so it was much preferable to the last! Didn't like the weird abrupt ending though, it felt like the story had been cut short.
<b><u>Our Turn Too Will One Day Come</b></u> by Brian Hodge
<i>4 stars</i>
This definitely had my skin crawling a bit. I love this kind of horror story that incorporates creatures and family secrets, kind of gave me The Village vibes… Is that the name of that film? Anyway, yes, great short!
<b><u>Dead Sea Fruit</b></u> by Kaaron Warren
<i>3 stars</i>
This short was pretty good, the Ash Mouth Man was pretty freaky but the writing was a bit all over the place and I felt too much was squeezed into such a small story. I'd love to read a full length story about this Ash Man, that would definitely be disturbing to read!
<b><u>Closet Dreams</b></u> by Lisa Tuttle
<i>4 stars</i>
Really well written and completely terrifying! I hate abduction stories so much because it could happen to anyone. It's not like the demonic ghost stories that you choose to believe or not believe, men who rape and steal little girls are <b>real.</b> The ending was… Predictable… Done before… Boring… But the rest of it was good enough to warrant it 4 stars!
<b><u>Spectral Evidence</b></u> by Gemma Files
<i>1 star</i>
?????????????????????????????????????????????????????????????????
I didn’t like the way this was set out, very frustrating to read on a Kindle! Also, I didn’t really get it, it was so all over the place I forgot what was happening previously.
<b><u>Hushabye</b></u> by Simon Bestwick
<i>2 stars.</i>
I wanted to like this one but there was too much missing from the story, maybe it was meant to be mysterious but in my eyes it just felt unfinished. Like what was the man sucking out of the children? And what really happened to Hardiman? Also I thought the narrator was a woman until we finally learnt his name was Paul, don’t know why, I just imagined him that way.
<b><u>Very Low-Flying Aircraft</b></u> by Nicholas Royle
<i>3 stars</i>
I’m not really a big fan of war based novels / stories so from the get go I knew I wasn’t going to get on that well with this story but it wasn’t so bad. I didn’t feel like this story explained itself enough or maybe it did and I just didn’t get it? Like why did it matter that Frankie looked like Victoria and why did Flynn go to the clinic? Also, I didn’t think it of a horror story really, though it was scary and horrible, it didn’t give me the heeby-jeebys like some of the others have done.
<b><u>The Goosle</b></u> by Margo Lanagan
<i>2 stars</i>
Seriously, seriously grotesque. If you have a weak stomach, <i>avoid this.</i> A very peculiar branch off the traditional Hansel and Gretel story we all know. This isn’t my kind of horror at all. I much prefer scary, mysterious human crime and occasionally a paranormal story. Torture porn is not at all my thing. This was very well written though, so props to Lanagan for that.
<b><u>The Clay Party</b></u> by Steve Duffy
<i>4 stars</i>
Again, not exactly what I’d classify as a horror story, but a great read nonetheless. Excellently written and enjoyable the whole way through, up until the end… the ending definitely wasn’t my kind of style so that was disappointing for me personally, but I’m sure others would love it!
<b><u>Strappado</b></u> by Laird Barron
<i>3 stars</i>
Definitely one of the strangest of the shorts in this novel. I thought it was excellently written but I didn’t quite get it? Maybe I was just having an off day when I read this but it didn’t really do anything for me.
<b><u>Lonegan’s Luck</b></u> by Stephen Graham Jones
<i>4 stars</i>
This is one of those stories I don’t know why I like. I never used to be into these kinds of rural town, religious apocalyptic kind of books, but ever since reading Mammoth, I’ve begun to enjoy reading them. Admittedly this had me a little confused to begin with, there were what felt like a lot of characters, but in the end none of the mattered anyway, they were just there to set the scene.
<b><u>Mr Pigsny</b></u> by Reggie Oliver
<i>3 stars</i>
I feel like I’ve read this book a million times. It’s one of those stories that's been redone time and time again with just slight changes here and there. It isn’t a bad plot per say, I certainly enjoyed it, it just had nothing unique about it.
<b><u>At Night, When the Demons Come by</b></u> by Ray Cluley
<i>4 stars</i>
One of the longer stories in this book but also one of the best. It had a pleasing twist to it and some interesting characters. I guess I quite like the whole apocalyptic feel when it comes to stories. I personally don’t feel this one was a horror story, more like a fantasy thriller.
<b><u>Was She Wicked? Was She Good?</b></u> by Mary Rickert
<i>4 stars</i>
This was a sad horror story, but in a way, it was also quite beautiful. I really liked the plot, it was something quite different to all the others in this collection and I thought the way it was written flowed well. Enjoyable short story!
<b><u>The Shallows</b></u> by John Langan
<i>2 stars</i>
I liked how this was written but I didn’t get it? I got bored halfway through it too, it was a half an hour read and I just couldn’t understand it so I skimmed the last 10 minutes or so. Yawn.
<b><u>Little Pig</b></u> by Anna Taborska
<i>3 stars</i>
Meh. This was well written and very different to the rest of the stories in this collection but was it a horror story? No. It was tragic, but not scary. Disappointing because whenever I see the word “pig” in relation to something “scary” I think of AHS.
<b><u>Omphalos</b></u> by Livia Llewellyn
<i>3 stars</i>
<b>TRIGGER WARNING: SEXUAL ABUSE</b>
This story was definitely very unique to the rest of the stories in this collection in the terms that this was a horror story that focused more on the real life horrors of families rather than made up monsters and ghouls. This story isn’t for the faint-hearted, it was horrific and gruesome and very upsetting. It wasn’t the best story in the collection when it came to plot or writing style, but it did bring out strong emotions in me, which other stories have been unable to do.
<b><u>How We Escaped Our Certain Fate</b></u> by Dan Chaon
<i>5 stars</i>
I liked how this was a different take on a classic zombie story - <b><i>”It wasn’t the end of the world… of course, a bite would infect you, but they weren’t terribly aggressive, in general.”</b></i> This was by far my favourite story in the entire book, it was so sad and emotional. It was beautiful.
<b><u>That Tiny Flutter of the Heart I Used to Call Love</b></u> by Robert Shearman
<i>4 stars</i>
Creepy, creepy, creepy. Dolls terrify me thanks to modern horror, although, really, I’ve always felt unsettled by them. Enjoyable story though. Poor Julian.
(This story almost had my name in it! “Suki” is close enough to Zuky.)
<b><u>Interstate Love Song (Murder Ballad No.8)</b></u> by Caitlin R. Kiernan
<i>3 stars</i>
Hmm, why did the shorts at the end of this book get all meaningful and loved up? I think that kinda ruined this for me. Granted it was disturbed and pretty grotesque at times but sadness of the ending ruined that creepy effect of the book and just left this kind of hanging in the space between horror and tragedy.
<b><u>Shay Corsham Worsted</b></u> by Garth Nix
<i>4 stars</i>
This was an interesting story and I liked our harsh but caring main character, Sir David. I wish this story was a little longer so we could find out more about Shay because I feel the missing backstory left this plot wide open. Enjoyable nonetheless.
<b><u>The Atlas of Hell</b></u> by Nathan Ballingrud
<i>3 stars</i>
I really enjoyed this to begin with though I thought it had a little David Wong influence, a writing style I’m not into. All was going well for this story until I got towards the end of it, where it completely lost me. Whether this is down to the annoying man sat on the train next to me, speaking into his phone at 32596 decibels, or just because the plot went AWOL, we’ll never know.
<b><u>Ambitious Boys Like You</b></u> by Richard Kadrey
<i>4 stars</i>
I like these kinds of creepy stories! They’re not particularly unique anymore, because they’ve been done so many different times in so many different, but similar ways, but they’re still fun to read. The old man was especially disturbing just because he was so witty and chilled out. I liked that this story had elements of humour to it, it made a nice change to the more recent emotion filled stories.
I’d like to thank Netgalley and Tachyon Publications for giving me the opportunity to read this in an exchange for an honest review.
NOW AVAILABLE IN THE UK!
I decided that instead of rating this book overall, it would be better to rate each individual story, so that’s what I’ve done. Obviously I had to rate the overall book so I actually calculated the average of all the ratings lol.
<b><u>Shallaballah</b></u> by Mark Samuels
<i>1 star</i>
Not a good start to the book for me. I was over the stitched up face appearance, creepy hospital, shady operations kind of horror story long ago, so this did pretty much nothing for me. Yes there were creepy elements to it but not enough. I also get what it was trying to do with the whole vanity, television thing, but it didn’t really work and so for me, added nothing to the overall plot.
<b><u>Sob in the Silence</b></u> by Gene Wolfe
<i>3 stars</i>
This was a pretty good creepy story, I much prefer stories that don't really have any paranormal elements to them and are more about the madness of the human brain. This short story had a bit of both to it so it was much preferable to the last! Didn't like the weird abrupt ending though, it felt like the story had been cut short.
<b><u>Our Turn Too Will One Day Come</b></u> by Brian Hodge
<i>4 stars</i>
This definitely had my skin crawling a bit. I love this kind of horror story that incorporates creatures and family secrets, kind of gave me The Village vibes… Is that the name of that film? Anyway, yes, great short!
<b><u>Dead Sea Fruit</b></u> by Kaaron Warren
<i>3 stars</i>
This short was pretty good, the Ash Mouth Man was pretty freaky but the writing was a bit all over the place and I felt too much was squeezed into such a small story. I'd love to read a full length story about this Ash Man, that would definitely be disturbing to read!
<b><u>Closet Dreams</b></u> by Lisa Tuttle
<i>4 stars</i>
Really well written and completely terrifying! I hate abduction stories so much because it could happen to anyone. It's not like the demonic ghost stories that you choose to believe or not believe, men who rape and steal little girls are <b>real.</b> The ending was… Predictable… Done before… Boring… But the rest of it was good enough to warrant it 4 stars!
<b><u>Spectral Evidence</b></u> by Gemma Files
<i>1 star</i>
?????????????????????????????????????????????????????????????????
I didn’t like the way this was set out, very frustrating to read on a Kindle! Also, I didn’t really get it, it was so all over the place I forgot what was happening previously.
<b><u>Hushabye</b></u> by Simon Bestwick
<i>2 stars.</i>
I wanted to like this one but there was too much missing from the story, maybe it was meant to be mysterious but in my eyes it just felt unfinished. Like what was the man sucking out of the children? And what really happened to Hardiman? Also I thought the narrator was a woman until we finally learnt his name was Paul, don’t know why, I just imagined him that way.
<b><u>Very Low-Flying Aircraft</b></u> by Nicholas Royle
<i>3 stars</i>
I’m not really a big fan of war based novels / stories so from the get go I knew I wasn’t going to get on that well with this story but it wasn’t so bad. I didn’t feel like this story explained itself enough or maybe it did and I just didn’t get it? Like why did it matter that Frankie looked like Victoria and why did Flynn go to the clinic? Also, I didn’t think it of a horror story really, though it was scary and horrible, it didn’t give me the heeby-jeebys like some of the others have done.
<b><u>The Goosle</b></u> by Margo Lanagan
<i>2 stars</i>
Seriously, seriously grotesque. If you have a weak stomach, <i>avoid this.</i> A very peculiar branch off the traditional Hansel and Gretel story we all know. This isn’t my kind of horror at all. I much prefer scary, mysterious human crime and occasionally a paranormal story. Torture porn is not at all my thing. This was very well written though, so props to Lanagan for that.
<b><u>The Clay Party</b></u> by Steve Duffy
<i>4 stars</i>
Again, not exactly what I’d classify as a horror story, but a great read nonetheless. Excellently written and enjoyable the whole way through, up until the end… the ending definitely wasn’t my kind of style so that was disappointing for me personally, but I’m sure others would love it!
<b><u>Strappado</b></u> by Laird Barron
<i>3 stars</i>
Definitely one of the strangest of the shorts in this novel. I thought it was excellently written but I didn’t quite get it? Maybe I was just having an off day when I read this but it didn’t really do anything for me.
<b><u>Lonegan’s Luck</b></u> by Stephen Graham Jones
<i>4 stars</i>
This is one of those stories I don’t know why I like. I never used to be into these kinds of rural town, religious apocalyptic kind of books, but ever since reading Mammoth, I’ve begun to enjoy reading them. Admittedly this had me a little confused to begin with, there were what felt like a lot of characters, but in the end none of the mattered anyway, they were just there to set the scene.
<b><u>Mr Pigsny</b></u> by Reggie Oliver
<i>3 stars</i>
I feel like I’ve read this book a million times. It’s one of those stories that's been redone time and time again with just slight changes here and there. It isn’t a bad plot per say, I certainly enjoyed it, it just had nothing unique about it.
<b><u>At Night, When the Demons Come by</b></u> by Ray Cluley
<i>4 stars</i>
One of the longer stories in this book but also one of the best. It had a pleasing twist to it and some interesting characters. I guess I quite like the whole apocalyptic feel when it comes to stories. I personally don’t feel this one was a horror story, more like a fantasy thriller.
<b><u>Was She Wicked? Was She Good?</b></u> by Mary Rickert
<i>4 stars</i>
This was a sad horror story, but in a way, it was also quite beautiful. I really liked the plot, it was something quite different to all the others in this collection and I thought the way it was written flowed well. Enjoyable short story!
<b><u>The Shallows</b></u> by John Langan
<i>2 stars</i>
I liked how this was written but I didn’t get it? I got bored halfway through it too, it was a half an hour read and I just couldn’t understand it so I skimmed the last 10 minutes or so. Yawn.
<b><u>Little Pig</b></u> by Anna Taborska
<i>3 stars</i>
Meh. This was well written and very different to the rest of the stories in this collection but was it a horror story? No. It was tragic, but not scary. Disappointing because whenever I see the word “pig” in relation to something “scary” I think of AHS.
<b><u>Omphalos</b></u> by Livia Llewellyn
<i>3 stars</i>
<b>TRIGGER WARNING: SEXUAL ABUSE</b>
This story was definitely very unique to the rest of the stories in this collection in the terms that this was a horror story that focused more on the real life horrors of families rather than made up monsters and ghouls. This story isn’t for the faint-hearted, it was horrific and gruesome and very upsetting. It wasn’t the best story in the collection when it came to plot or writing style, but it did bring out strong emotions in me, which other stories have been unable to do.
<b><u>How We Escaped Our Certain Fate</b></u> by Dan Chaon
<i>5 stars</i>
I liked how this was a different take on a classic zombie story - <b><i>”It wasn’t the end of the world… of course, a bite would infect you, but they weren’t terribly aggressive, in general.”</b></i> This was by far my favourite story in the entire book, it was so sad and emotional. It was beautiful.
<b><u>That Tiny Flutter of the Heart I Used to Call Love</b></u> by Robert Shearman
<i>4 stars</i>
Creepy, creepy, creepy. Dolls terrify me thanks to modern horror, although, really, I’ve always felt unsettled by them. Enjoyable story though. Poor Julian.
(This story almost had my name in it! “Suki” is close enough to Zuky.)
<b><u>Interstate Love Song (Murder Ballad No.8)</b></u> by Caitlin R. Kiernan
<i>3 stars</i>
Hmm, why did the shorts at the end of this book get all meaningful and loved up? I think that kinda ruined this for me. Granted it was disturbed and pretty grotesque at times but sadness of the ending ruined that creepy effect of the book and just left this kind of hanging in the space between horror and tragedy.
<b><u>Shay Corsham Worsted</b></u> by Garth Nix
<i>4 stars</i>
This was an interesting story and I liked our harsh but caring main character, Sir David. I wish this story was a little longer so we could find out more about Shay because I feel the missing backstory left this plot wide open. Enjoyable nonetheless.
<b><u>The Atlas of Hell</b></u> by Nathan Ballingrud
<i>3 stars</i>
I really enjoyed this to begin with though I thought it had a little David Wong influence, a writing style I’m not into. All was going well for this story until I got towards the end of it, where it completely lost me. Whether this is down to the annoying man sat on the train next to me, speaking into his phone at 32596 decibels, or just because the plot went AWOL, we’ll never know.
<b><u>Ambitious Boys Like You</b></u> by Richard Kadrey
<i>4 stars</i>
I like these kinds of creepy stories! They’re not particularly unique anymore, because they’ve been done so many different times in so many different, but similar ways, but they’re still fun to read. The old man was especially disturbing just because he was so witty and chilled out. I liked that this story had elements of humour to it, it made a nice change to the more recent emotion filled stories.
I’d like to thank Netgalley and Tachyon Publications for giving me the opportunity to read this in an exchange for an honest review.