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Miguel Arteta recommended Something Wild (1986) in Movies (curated)
Anne (15117 KP) rated The Killing Fog (The Grave Kingdom, #1) in Books
Nov 4, 2019
Thanks to NetGalley and 47North for letting me read and review this incredible story. I'm already anxiously awaiting the next book in this series! I love and have read most of Jeff Wheeler's works and he never disappoints with his stories full of adventure, intrigue, romance, life lessons and so much more. It's always one wild rollercoaster ride with my emotions when I read one of his books, but I always learn or take away something and enjoy the stories immensely.
I always find myself easily lost and immersed in the worlds he creates and invested in the characters and the stories they have to tell. This story is very unique and different from others that Jeff Wheeler has written and just as amazing and engrossing as the others I have read.
In this story, we find ourselves following along with this story of an orphaned girl named Bingmei, who is with a group of mercenaries that serve a local ruler. They are sent on a mission to find and retrieve what treasures they can that are in a lost palace buried and preserved in ice. But when they get there, they find more than they bargained for and when they upset the tomb, they unknowingly cause havoc.
Bingmei unknowingly brings Echion, Dragon of the Night back to life, waking him from his tomb and now is meant to fulfill her part in the legendary prophecy. She has to destroy Echion before he takes over all the kingdoms and he has to stop her from destroying him. Bingmei knows what she has to do, but she doesn't know if she can do it.
This is in a world of ancient myth, legend, magic and is a story about love, loss, grief, balance, duty, honor and what people do when faced with difficult choices in heart-rending situations and so much more. You definitely want to have this one on your list, preorder it and read it as soon as you can.
I always find myself easily lost and immersed in the worlds he creates and invested in the characters and the stories they have to tell. This story is very unique and different from others that Jeff Wheeler has written and just as amazing and engrossing as the others I have read.
In this story, we find ourselves following along with this story of an orphaned girl named Bingmei, who is with a group of mercenaries that serve a local ruler. They are sent on a mission to find and retrieve what treasures they can that are in a lost palace buried and preserved in ice. But when they get there, they find more than they bargained for and when they upset the tomb, they unknowingly cause havoc.
Bingmei unknowingly brings Echion, Dragon of the Night back to life, waking him from his tomb and now is meant to fulfill her part in the legendary prophecy. She has to destroy Echion before he takes over all the kingdoms and he has to stop her from destroying him. Bingmei knows what she has to do, but she doesn't know if she can do it.
This is in a world of ancient myth, legend, magic and is a story about love, loss, grief, balance, duty, honor and what people do when faced with difficult choices in heart-rending situations and so much more. You definitely want to have this one on your list, preorder it and read it as soon as you can.
The Marinated Meeple (1848 KP) rated Jurassic Park (1993) in Movies
Apr 5, 2018
The CGI (2 more)
The Special Effects
The Storytelling
The all time best dinosaur movie made so far....
This move is a great one and will hold up for many many years. They way the original king Kong holds up the groundbreaking special effects for the time are solid enough to fool people nowadays in a charming old fashioned way. Yes technology is evolving faster than dinosaurs ever did, but when something is made this well, it tends to age well, not poorly. Jaws is another example of aging well, yes we can see the flaws and the seems, but it doesn't matter. Yes I understand the science is flawed, but the premise is interesting, and the pseudo science is good enough to capture the imagination. And the imagination runs wild here like a T-Rex after a Jeep. It gobbled me up like a guy on a toilet. I still love to visit Isla Sorna. And plan to go back many many more times.
Fun Tidbit: All of the cast were given a Raptor model, signed by Steven Spielberg as a gift. It looked very frightening, and Ariana Richards has it in her house to shock anyone coming in, like a guard at the gate. Jeff Goldblum's model has a prime spot in his house and is a cherished object. Laura Dern put her Raptor model in her son's room near his crib. When he was older and saw it he screamed like never before. She had to put it in storage, but hopes one day, the two will be friends.
Here's 2 awesome movie posters:
Fun Tidbit: All of the cast were given a Raptor model, signed by Steven Spielberg as a gift. It looked very frightening, and Ariana Richards has it in her house to shock anyone coming in, like a guard at the gate. Jeff Goldblum's model has a prime spot in his house and is a cherished object. Laura Dern put her Raptor model in her son's room near his crib. When he was older and saw it he screamed like never before. She had to put it in storage, but hopes one day, the two will be friends.
Here's 2 awesome movie posters:
Chris Sawin (602 KP) rated Jurassic World: Dominion (2022) in Movies
Jun 16, 2022
The Therizinosaurus and Pyroraptor sequences. (2 more)
The final dinosaur battle.
Jeff Goldblum
No chemistry between the cast. (2 more)
Not enough dinosaurs.
Human drama overshadows anything remotely dinosaur related.
You Can't Squeeze Gold From a Dried Up Fossil
Four years after the events of Jurassic World: Fallen Kingdom, dinosaurs now roam free and are a part of everyday life. Claire Dearing (Bryce Dallas Howard) and Owen Grady (Chris Pratt) have been taking care of Maisie Lockwood (Isabella Sermon) while living in a cabin deep within the Sierra Nevada mountains. Biosyn Genetics now utilizes the dinosaurs as a means to try to cure the world’s most devastating diseases.
Maisie’s unique clone DNA is suddenly the world’s only hope for surviving against a swarm of de-extinct giant locusts that is growing in number, spreading from continent to continent, and attacking the source of the world’s food supply. Biosyn kidnaps Maisie along with Beta; the offspring of Blue, the velociraptor Owen trained, who reproduced Beta asexually. Meanwhile, with the help of Dr. Ian Malcolm (Jeff Goldblum), Dr. Ellie Sattler (Laura Dern) recruits Dr. Alan Grant (Sam Neill) to break into Biosyn in an attempt to prove that they are the ones responsible for the giant locusts.
The big drawing point of Jurassic World Dominion is that not only is it the first time Jeff Goldblum, Laura Dern, and Sam Neill have been together in a Jurassic Park film since the original, but you get to see them interact with the main characters of the Jurassic World films. The problem is that it wasn’t worth the wait. The highlight of the Jurassic Park films are the dinosaurs and it seems like Dominion purposely keeps its audience away from what they came to see for the majority of the film. To make matters worse, all of the human interactions fall flat. What little comedic humor the film tries to provide is met with blank stares and there seems to be more time spent talking about relationships between characters, teenager woes, and villainous characters who have suddenly turned a new leaf over actual dinosaur goodness.
Why anyone decided that Owen’s trademark pose of his arm being extended with his palm being the only defense between them and a wild dinosaur mauling them to death is beyond anyone’s comprehension. It’s done so often here and what’s even more frustrating is that it works every time. The film throws in these sappy and melodramatic excursions that simply aren’t worth the hassle. Claire and Owen attempting to be parents is excruciating and the way this film has decided to force Ellie Sattler and Alan Grant into an awkward, romantic fling is more uncomfortable than it is satisfying.
The film does offer a few highlights, but not nearly enough amongst its close to 150-minute runtime. The motorcycle chase in Malta is the film’s most entertaining action sequence and the pyroraptor scene on top of the ice is also incredibly thrilling. The three-way dinosaur battle during the finale of the film is cool, but it feels like it’s been done previously. As the Jurassic Park and Jurassic World films progressed, they seemed to always try to be topping the T. Rex and yet were never really able to.
Dominion includes the Giganotosaurus; an apex predator that is bigger and meaner than the T. Rex. The finale sees the T.Rex battling the Giganotosaurus with the help of a Therizinosaurus. Earlier in the film, the Therizinosaurus and its long, sharp, finger-like appendages provide the only nod to horror and classic monster movies Dominion provides as it stalks Claire in the jungle near the main Biosyn facility.
The film spends a lot of time focusing on human drama that you don’t care about. Claire and Owen bounce around the world as they try to find Maisie. They’re taken to an underground dinosaur fighting ring by Barry Sembène (Omar Sy), who now works for the CIA. They go on a wild goose chase as they trail behind Rainn Delacourt (Scott Haze), the man who kidnapped Maisie, and then Soyona Santos (Dichen Lachman), a dinosaur smuggler that has a direct line to Biosyn.
What’s disappointing is more of the film could have been devoted to Santos and the dinosaur black market since they are two of the most interesting aspects of the film. Dominion tries to make up for it by making pilot Kayla Watts (DeWanda Wise) the most intriguing new character, but her inclusion feels like it’s too little too late.
With Jurassic World Dominion, a Jurassic World film where dinosaurs are now free and interacting with the modern world shouldn’t feel this longwinded or this tiresome. There are a few action sequences that are worthwhile and Jeff Goldblum has a few great one-liners (“You made a promise to a dinosaur?”), but the film is a monumental disappointment overall.
The film has already made over $415 million at the worldwide box office, so the interest in the franchise is still there. But the chemistry between the cast is almost non-existent and it feels like the film is running on fumes as it tries to offer something new from what is otherwise dried up fossil fuel. If the Jurassic Park/Jurassic World franchise is to continue, it desperately needs to go in a refreshing and unseen direction. Now that all of the nostalgia is out of the way, fans deserve a refreshing and unique adventure over what is otherwise a glorified rehash.
Maisie’s unique clone DNA is suddenly the world’s only hope for surviving against a swarm of de-extinct giant locusts that is growing in number, spreading from continent to continent, and attacking the source of the world’s food supply. Biosyn kidnaps Maisie along with Beta; the offspring of Blue, the velociraptor Owen trained, who reproduced Beta asexually. Meanwhile, with the help of Dr. Ian Malcolm (Jeff Goldblum), Dr. Ellie Sattler (Laura Dern) recruits Dr. Alan Grant (Sam Neill) to break into Biosyn in an attempt to prove that they are the ones responsible for the giant locusts.
The big drawing point of Jurassic World Dominion is that not only is it the first time Jeff Goldblum, Laura Dern, and Sam Neill have been together in a Jurassic Park film since the original, but you get to see them interact with the main characters of the Jurassic World films. The problem is that it wasn’t worth the wait. The highlight of the Jurassic Park films are the dinosaurs and it seems like Dominion purposely keeps its audience away from what they came to see for the majority of the film. To make matters worse, all of the human interactions fall flat. What little comedic humor the film tries to provide is met with blank stares and there seems to be more time spent talking about relationships between characters, teenager woes, and villainous characters who have suddenly turned a new leaf over actual dinosaur goodness.
Why anyone decided that Owen’s trademark pose of his arm being extended with his palm being the only defense between them and a wild dinosaur mauling them to death is beyond anyone’s comprehension. It’s done so often here and what’s even more frustrating is that it works every time. The film throws in these sappy and melodramatic excursions that simply aren’t worth the hassle. Claire and Owen attempting to be parents is excruciating and the way this film has decided to force Ellie Sattler and Alan Grant into an awkward, romantic fling is more uncomfortable than it is satisfying.
The film does offer a few highlights, but not nearly enough amongst its close to 150-minute runtime. The motorcycle chase in Malta is the film’s most entertaining action sequence and the pyroraptor scene on top of the ice is also incredibly thrilling. The three-way dinosaur battle during the finale of the film is cool, but it feels like it’s been done previously. As the Jurassic Park and Jurassic World films progressed, they seemed to always try to be topping the T. Rex and yet were never really able to.
Dominion includes the Giganotosaurus; an apex predator that is bigger and meaner than the T. Rex. The finale sees the T.Rex battling the Giganotosaurus with the help of a Therizinosaurus. Earlier in the film, the Therizinosaurus and its long, sharp, finger-like appendages provide the only nod to horror and classic monster movies Dominion provides as it stalks Claire in the jungle near the main Biosyn facility.
The film spends a lot of time focusing on human drama that you don’t care about. Claire and Owen bounce around the world as they try to find Maisie. They’re taken to an underground dinosaur fighting ring by Barry Sembène (Omar Sy), who now works for the CIA. They go on a wild goose chase as they trail behind Rainn Delacourt (Scott Haze), the man who kidnapped Maisie, and then Soyona Santos (Dichen Lachman), a dinosaur smuggler that has a direct line to Biosyn.
What’s disappointing is more of the film could have been devoted to Santos and the dinosaur black market since they are two of the most interesting aspects of the film. Dominion tries to make up for it by making pilot Kayla Watts (DeWanda Wise) the most intriguing new character, but her inclusion feels like it’s too little too late.
With Jurassic World Dominion, a Jurassic World film where dinosaurs are now free and interacting with the modern world shouldn’t feel this longwinded or this tiresome. There are a few action sequences that are worthwhile and Jeff Goldblum has a few great one-liners (“You made a promise to a dinosaur?”), but the film is a monumental disappointment overall.
The film has already made over $415 million at the worldwide box office, so the interest in the franchise is still there. But the chemistry between the cast is almost non-existent and it feels like the film is running on fumes as it tries to offer something new from what is otherwise dried up fossil fuel. If the Jurassic Park/Jurassic World franchise is to continue, it desperately needs to go in a refreshing and unseen direction. Now that all of the nostalgia is out of the way, fans deserve a refreshing and unique adventure over what is otherwise a glorified rehash.
LeftSideCut (3778 KP) rated Cursed Films - Season 1 in TV
Oct 7, 2020
Cursed Films is a 5 part series focusing on the ins and outs of film productions that were deemed cursed for one reason or another - the 5 parts concentrate on The Exorcist, The Omen, Poltergeist, The Crow, and The Twilight Zone movie respectively.
When this series is focused on the films themselves, it's a real treat. Some of the interviews are moving as hell - in particular the conversations with Richard Sawyer, Lance Anderson, Jeff Most, and Gary Sherman. These guys are to this day still affected by some of the things that happened during their film productions.
The Twilight Zone episode includes footage of the infamous on set accident which is genuinely haunting, and is honestly a really powerful part of the documentary having Sawyer's interview running alongside it.
The Crow episode is great as well, and the look we get at Anderson's relationship with Brandon Lee is so human and raw.
These moments really shine a light on how ridiculous the curse theories are, when in fact, they are just tragic events that effected real people, people who then had to deal with a following media circus.
The big thing I really didn't like about this series is only really relevant to The Omen and Exorcist episodes. It's almost like they didn't have enough material to fill the runtime of these segments, and so opt to pad it out with interviews with real exorcists, or magicians that practice black magic. I'm sure that there are interesting stories to be told by these people, but it feels really out of place and forced here. It's even cringe inducing at times and feels like very obvious filler. It detracts somewhat from what is otherwise a pretty solid documentary series.
Cursed Films is certainly an interesting watch, and is easy to digest in the 30 minute episodes that are presented. Also, that theme music is wild (found out it's by an Italian space-prog band from the 70s called I Signori Della Galassia!)
Worth a watch for sure, just ignore the silly filler parts.
When this series is focused on the films themselves, it's a real treat. Some of the interviews are moving as hell - in particular the conversations with Richard Sawyer, Lance Anderson, Jeff Most, and Gary Sherman. These guys are to this day still affected by some of the things that happened during their film productions.
The Twilight Zone episode includes footage of the infamous on set accident which is genuinely haunting, and is honestly a really powerful part of the documentary having Sawyer's interview running alongside it.
The Crow episode is great as well, and the look we get at Anderson's relationship with Brandon Lee is so human and raw.
These moments really shine a light on how ridiculous the curse theories are, when in fact, they are just tragic events that effected real people, people who then had to deal with a following media circus.
The big thing I really didn't like about this series is only really relevant to The Omen and Exorcist episodes. It's almost like they didn't have enough material to fill the runtime of these segments, and so opt to pad it out with interviews with real exorcists, or magicians that practice black magic. I'm sure that there are interesting stories to be told by these people, but it feels really out of place and forced here. It's even cringe inducing at times and feels like very obvious filler. It detracts somewhat from what is otherwise a pretty solid documentary series.
Cursed Films is certainly an interesting watch, and is easy to digest in the 30 minute episodes that are presented. Also, that theme music is wild (found out it's by an Italian space-prog band from the 70s called I Signori Della Galassia!)
Worth a watch for sure, just ignore the silly filler parts.
Gareth von Kallenbach (980 KP) rated Jurassic World: Dominion (2022) in Movies
Jun 8, 2022
After having the film halted and its release delayed by the Pandemic, “Jurassic World: Dominion” has finally arrived and closes out the new trilogy in a spectacle of action and visual splendor.
Picking up a few years after the events of “Jurassic World: Fallen Kingdom”, the dinosaurs have escaped into the wild and now mingle with and at times endanger society.
A multi-national company has been leading the way with a reserve to study the animals and their quirky leader Lewis Dodgson (Campbell Scott), promises the goal is to discover medicines that will benefit all of society.
At the same time, various concerns have arisen such as gigantic Locust swarms that threaten the food supply and activist Ellie Sattler (Laura Dern) is convinced that Dodgson and his company are behind it. Desperate to find answers, she seeks the help of Dr. Alan Grant (Sam Neill) and Dr. Ian Malcom (Jeff Goldblum) to get to the bottom of the mystery.
Owen Grady (Chris Pratt), and Claire Dearing (Bryce Dallas Howard), find their lives disrupted by the poaching of a unique dinosaur and a genetically unique young girl named Maisie (Isabella Sermon) and this puts them on a path to recover them both which takes them into the illegal world of dinosaur sales and on a collision course with Ellie and her team.
The old and new cast faces numerous dangers along the way before they unite for a rousing final act which effectively combines the original and new trilogy and cast very well.
Director Colin Trevorrow takes his time getting the story up to speed as the early part of the film is heavy on characters and set up before getting to the action but once it starts, there is an endless parade of dinosaurs old and new to endanger the cast and keep the tension moving.
While people may be able to find fault with elements of the plot, pacing, and dialogue, the cast is very effective and it is nice to see the cast from the original series being given a much larger role and how elements from the first film are addressed which have been a point of debate for fans.
The visuals are impressive and there is no end of snarling, biting, and deadly creatures mixed in with favorites old and new while people may want more depth or variation, the creatures are the focal point of the story and the film provides plenty of what fans have come to expect.
The formula of gathering the cast and endangering them with an array of dinosaurs does not change much aside from the locales and creatures involved but fans of the series know what they are getting and “Jurassic World: Dominion” gives fans what they expect and does it well.
DeWanda Wise and Mamoudou Athie are nice additions to the cast and Isabella Sermon appears to be a breakout star in the making. It will be interesting to see how long Universal waits before returning the franchise to cinemas as they have mentioned taking a break following this film, hopefully, it will not be as long as the break between “Jurassic Park 3”, and “Jurassic World” as it will be interesting to see what the next summer event film in the series will offer.
4 stars out of 5.
Picking up a few years after the events of “Jurassic World: Fallen Kingdom”, the dinosaurs have escaped into the wild and now mingle with and at times endanger society.
A multi-national company has been leading the way with a reserve to study the animals and their quirky leader Lewis Dodgson (Campbell Scott), promises the goal is to discover medicines that will benefit all of society.
At the same time, various concerns have arisen such as gigantic Locust swarms that threaten the food supply and activist Ellie Sattler (Laura Dern) is convinced that Dodgson and his company are behind it. Desperate to find answers, she seeks the help of Dr. Alan Grant (Sam Neill) and Dr. Ian Malcom (Jeff Goldblum) to get to the bottom of the mystery.
Owen Grady (Chris Pratt), and Claire Dearing (Bryce Dallas Howard), find their lives disrupted by the poaching of a unique dinosaur and a genetically unique young girl named Maisie (Isabella Sermon) and this puts them on a path to recover them both which takes them into the illegal world of dinosaur sales and on a collision course with Ellie and her team.
The old and new cast faces numerous dangers along the way before they unite for a rousing final act which effectively combines the original and new trilogy and cast very well.
Director Colin Trevorrow takes his time getting the story up to speed as the early part of the film is heavy on characters and set up before getting to the action but once it starts, there is an endless parade of dinosaurs old and new to endanger the cast and keep the tension moving.
While people may be able to find fault with elements of the plot, pacing, and dialogue, the cast is very effective and it is nice to see the cast from the original series being given a much larger role and how elements from the first film are addressed which have been a point of debate for fans.
The visuals are impressive and there is no end of snarling, biting, and deadly creatures mixed in with favorites old and new while people may want more depth or variation, the creatures are the focal point of the story and the film provides plenty of what fans have come to expect.
The formula of gathering the cast and endangering them with an array of dinosaurs does not change much aside from the locales and creatures involved but fans of the series know what they are getting and “Jurassic World: Dominion” gives fans what they expect and does it well.
DeWanda Wise and Mamoudou Athie are nice additions to the cast and Isabella Sermon appears to be a breakout star in the making. It will be interesting to see how long Universal waits before returning the franchise to cinemas as they have mentioned taking a break following this film, hopefully, it will not be as long as the break between “Jurassic Park 3”, and “Jurassic World” as it will be interesting to see what the next summer event film in the series will offer.
4 stars out of 5.
Jordan Binkerd (567 KP) rated American Vampire, Vol. 6 in Books
Jul 21, 2019 (Updated Jul 21, 2019)
Not all the art works (for me) (1 more)
Adult content.... but if you made it this far in the series, that's not a surprise
Filler Anthology, but still fun...
Note: this review is transposted from my personal review blog, and so was originally written several years ago.
So, it has come to this. The sixth and latest collection of American Vampire comics. Now it’s not just my library’s slow acquisition policies holding me back, but the fact that there haven’t been any more published yet! Apparently the creators put the book on hiatus for a while, but they’ve at least started publishing again. I just have to wait for it to hit the collections….This particular collection is a couple of one-shots they put out in the meantime to keep our appetites whetted–one from the main American Vampire team, one with them letting a whole bunch of other comics creators play in their sandbox. Obviously, this review could spoil events from the previous collections.
First off, we have THE LONG ROAD TO HELL. Snyder and Albuquerque set out the story for this one together, with Albuquerque taking over to script and draw the story. Billy Bob and Jo are the Bonnie and Clyde of petty thieves, picking pockets by night to add to their stash. They’re hoping to have enough soon to cover the cost of renting a chapel, but one fateful encounter with a vampire coven recruitment team and everything changes…not for the better, I’m afraid. Jasper Miller is a young orphan, favorite target of a group of bullies. It seems that young Jasper is a very insightful young man, and some of what he knows makes these bullies very nervous, and he decides that the open road would be safer for him than the old orphanage. Vampire hunter Travis Kidd we’ve already met back in Vol. IV, and it’s good to see that he survived the ambush he willingly dove into at the end of that book. Seems to have picked up a katana somewhere in the interim too, which is always cool. Fate has these four on a collision course, and blood will be spilled by the time they reach the end of the road….
Moving on to the American Vampire Anthology, we open with the frame story by Snyder and Albuquerque. THE MAN COMES AROUND is set in 1967 as Skinner Sweet hides out in the middle of nowhere, hoping to avoid the major events he can sense just over the horizon. Seems there’s always someone trying to kill him, though…. Jason Aaron and Declan Shalvey then enlighten us as to what really happened on Roanoke Island in THE LOST COLONY. Here’s a hint, vampires were involved. We then move on to BLEEDING KANSAS, where Albuquerque puts down his pencil and takes a shot at writing the story, leaving the art to Ivo Milazzo. Set against that tumultuous time and place, Albuquerque and Milazzo set down for us a tale of what I can only assume are Henry Jones’ grandparents. Next up, Jeff Lemire and Ray Fawkes serve up a tale of terror in the frozen north with CANADIAN VAMPIRE as ex-Mountie-turned-bounty-hunter Jack Warhammer is hired to find out what happened to a German fur trading expedition missing in the wild. Becky Cloonan handles both the writing and art for GREED, starring Skinner Sweet and featuring his first encounter with those crazy folks who hail from a place called “Hollywood….” Francesco Francavilla then pulls the same trick for THE PRODUCERS, detailing the birth of a star as he makes a shady deal in exchange for fame and fortune. Gail Simone and Tula Lotay treat us to Hattie Hargrove’s origin story in ESSENCE OF LIFE, showing us just what happened to her that made her willing to screw over her best friend in the world. Gabriel Ba and Fabio Moon share both the writing and artist credits for LAST NIGHT, as a lounge singer describes to a reporter the events leading up to the previous evening’s massacre at the club. Finally, Greg Rucka and JP Leon tell the tale of a dying drunk and the lowlifes who try and shanghai him in PORTLAND, 1940.
On the whole, I really enjoyed this as per the usual for this series. The writing was stellar, and the anthology format really served well for the world being depicted. As with any comics anthology, there’s a wide variety of artistic styles represented, and some of those styles I’m not really a fan of, but that’s largely a matter of taste. I could sit here and tell you that I really wasn’t a fan of Ivo Milazzo’s art on BLEEDING KANSAS (which is true), but the next guy might have loved it. I could laud Tula Lotay’s work on ESSENCE OF LIFE (also true), but the next guy may not have been a fan. That’s kind of how it works–peoples’ tastes are pretty subjective. I did enjoy getting into Hattie’s head a bit more than we were able to back when she was introduced, and Skinner Sweet’s adventures are always fun–I’ve mentioned before my weakness for antiheroes. As a historian, Roanoke’s lost colony is always a fascinating topic, and a number of the plot twists contained here were very satisfying if not always surprising. I really can’t wait for the next volume to come out so I can see the payoff to some of the plot threads being set up both here and in the teaser from the end of volume V….
CONTENT: R-rated language. Brutal, bloody vampire violence–these aren’t sparkly, angst-ridden pretty boys, these are monsters through and through. Some explicit and implicit sexual content, including what more or less constitutes a rape. No real occult content, as there isn’t a spiritual element to this version of vampirism.
Original review link: https://jordanbinkerd.wordpress.com/2014/08/15/review-american-vampire-volume-vi-by-scott-snyder-rafael-albuquerque/
So, it has come to this. The sixth and latest collection of American Vampire comics. Now it’s not just my library’s slow acquisition policies holding me back, but the fact that there haven’t been any more published yet! Apparently the creators put the book on hiatus for a while, but they’ve at least started publishing again. I just have to wait for it to hit the collections….This particular collection is a couple of one-shots they put out in the meantime to keep our appetites whetted–one from the main American Vampire team, one with them letting a whole bunch of other comics creators play in their sandbox. Obviously, this review could spoil events from the previous collections.
First off, we have THE LONG ROAD TO HELL. Snyder and Albuquerque set out the story for this one together, with Albuquerque taking over to script and draw the story. Billy Bob and Jo are the Bonnie and Clyde of petty thieves, picking pockets by night to add to their stash. They’re hoping to have enough soon to cover the cost of renting a chapel, but one fateful encounter with a vampire coven recruitment team and everything changes…not for the better, I’m afraid. Jasper Miller is a young orphan, favorite target of a group of bullies. It seems that young Jasper is a very insightful young man, and some of what he knows makes these bullies very nervous, and he decides that the open road would be safer for him than the old orphanage. Vampire hunter Travis Kidd we’ve already met back in Vol. IV, and it’s good to see that he survived the ambush he willingly dove into at the end of that book. Seems to have picked up a katana somewhere in the interim too, which is always cool. Fate has these four on a collision course, and blood will be spilled by the time they reach the end of the road….
Moving on to the American Vampire Anthology, we open with the frame story by Snyder and Albuquerque. THE MAN COMES AROUND is set in 1967 as Skinner Sweet hides out in the middle of nowhere, hoping to avoid the major events he can sense just over the horizon. Seems there’s always someone trying to kill him, though…. Jason Aaron and Declan Shalvey then enlighten us as to what really happened on Roanoke Island in THE LOST COLONY. Here’s a hint, vampires were involved. We then move on to BLEEDING KANSAS, where Albuquerque puts down his pencil and takes a shot at writing the story, leaving the art to Ivo Milazzo. Set against that tumultuous time and place, Albuquerque and Milazzo set down for us a tale of what I can only assume are Henry Jones’ grandparents. Next up, Jeff Lemire and Ray Fawkes serve up a tale of terror in the frozen north with CANADIAN VAMPIRE as ex-Mountie-turned-bounty-hunter Jack Warhammer is hired to find out what happened to a German fur trading expedition missing in the wild. Becky Cloonan handles both the writing and art for GREED, starring Skinner Sweet and featuring his first encounter with those crazy folks who hail from a place called “Hollywood….” Francesco Francavilla then pulls the same trick for THE PRODUCERS, detailing the birth of a star as he makes a shady deal in exchange for fame and fortune. Gail Simone and Tula Lotay treat us to Hattie Hargrove’s origin story in ESSENCE OF LIFE, showing us just what happened to her that made her willing to screw over her best friend in the world. Gabriel Ba and Fabio Moon share both the writing and artist credits for LAST NIGHT, as a lounge singer describes to a reporter the events leading up to the previous evening’s massacre at the club. Finally, Greg Rucka and JP Leon tell the tale of a dying drunk and the lowlifes who try and shanghai him in PORTLAND, 1940.
On the whole, I really enjoyed this as per the usual for this series. The writing was stellar, and the anthology format really served well for the world being depicted. As with any comics anthology, there’s a wide variety of artistic styles represented, and some of those styles I’m not really a fan of, but that’s largely a matter of taste. I could sit here and tell you that I really wasn’t a fan of Ivo Milazzo’s art on BLEEDING KANSAS (which is true), but the next guy might have loved it. I could laud Tula Lotay’s work on ESSENCE OF LIFE (also true), but the next guy may not have been a fan. That’s kind of how it works–peoples’ tastes are pretty subjective. I did enjoy getting into Hattie’s head a bit more than we were able to back when she was introduced, and Skinner Sweet’s adventures are always fun–I’ve mentioned before my weakness for antiheroes. As a historian, Roanoke’s lost colony is always a fascinating topic, and a number of the plot twists contained here were very satisfying if not always surprising. I really can’t wait for the next volume to come out so I can see the payoff to some of the plot threads being set up both here and in the teaser from the end of volume V….
CONTENT: R-rated language. Brutal, bloody vampire violence–these aren’t sparkly, angst-ridden pretty boys, these are monsters through and through. Some explicit and implicit sexual content, including what more or less constitutes a rape. No real occult content, as there isn’t a spiritual element to this version of vampirism.
Original review link: https://jordanbinkerd.wordpress.com/2014/08/15/review-american-vampire-volume-vi-by-scott-snyder-rafael-albuquerque/
Bob Mann (459 KP) rated Independence Day: Resurgence (2016) in Movies
Sep 29, 2021
Why Will Smith is a wise, wise man.
I’m catching up on a few of the big films I missed during 2016. But Roland Emmerich has a lot to answer for with this one. Twenty years after Independence Day smashed the summer box office of 1996, the aliens are back: bigger and badder than ever. Steven Hiller (Will Smith) is no longer on the scene but, to give Emmerich a little credit, he has gathered an impressive array of the original stars to return led by Hiller’s wife Jasmine (Vivica Fox), President Whitmore (Bill Pullman), Dr Okun (Brent Spiner), David Levinson (Jeff Goldblum) and his dad (Judd Hirsch). The great Robert Loggia even turns up, who played the original General Grey, looking like he is about to expire (which unfortunately he did late last year, and the film is in memorial to him). All of them have weathered over the years apart from Judd Hirsch who must have a picture in his attic.
Playing the new generation (Hiller’s young son Dylan and the president’s daughter Patricia) are Jessie Usher and the comely Maika Monroe respectively, the latter having the pout of a young Jessica Alba and showing promise. Rounding off the young ‘uns, and playing an enormously irritating hunk/hero and his sidekick buddy are Jake (Liam Hemsworth – yes, younger brother of Chris) and Floyd (Nicolas Wright). And with the obvious needs of summer blockbusters to appeal to the ravenous Chinese market there is also Shanghai-born Angelababy as a young hotshot pilot and Chin Han as her uncle, moonbase commander Commander Jiang.
It’s hard to know where to start with criticism of this film. It’s like you’ve caught someone desecrating the grave of a dearly departed relative. The plot is ludicrous…. Uh oh…here comes another One Mann’s Movies Showcase Theatre….
The scene: onboard the alien craft high above central Asia
DRONE K’FAALL: “The use of the anti-gravity weapon worked a treat your Majesty. We have ripped up Shanghai and dumped in from a great height on London! Take that Queenie! All hail our weapons superiority! I take it we should just ‘rinse and repeat’ around the world to wipe them all out? ”
QUEEN ALIEN BEE: “No K’Fall. Let’s land in the Atlantic and then go fight them one-on-one with our little ships in the desert near Area 51.”
DRONE K’FALL: “B-b-b-but your Majesty, with our gravity weapon we could eliminate all threat, drill out the earth’s core and find what we came here for in perfect safety!”.
QUEEN ALIEN BEE: “No… that’s just what they’ll be expecting us to do…”
I thought the Oscar for the dumbest aliens of the year was a shoe-in for the ones who chose a similar tactic in “The 5th Wave” – but no… we have another contender for the crown. This ridiculous London-based CGI sequence – a virtual re-shoot of the ridiculous CGI sequence in Emmerich’s “2012” where John Cusack is fleeing by plane a collapsing Los Angeles – is mitigated only by Goldblum’s witty comment about them “Always going for the landmarks” – the best line in the film.
Elsewhere, the story and screenplay – by an army of writers (never a good sign) – is risible and an insult to intelligence, alien or otherwise. The ludicrous plot points go on and on…
Why on earth is the single landed alien craft from 1996 owned by an African warlord? If mankind have ‘benefited’ so much from the alien technology that must surely have been through the UN-dismantling of that ship?
There seems to be no logical connection between the “visions” (stolen from “Close Encounters”) and the alien craft. The visions might have well have been of the alien’s last shopping list (“six cans of Kraag beans; one bottle of Vollufi ale; … “);
The alien craft is big enough to span the WHOLE Atlantic when it lands, but – who would believe it? – comes to a stop with its edge in Washington JUST ENOUGH to dip the White House flag to a jaunty angle. #cringe;
The alien ship – apparently open to the elements – allows our heroic hunks to wander around without spacesuits;
Breathless… or not. Jessie T Usher and Liam Hemsworth (foreground) not dying of asphyxiation or cold.
At one point it looked like our curvaceous heroine was going to defeat the alien queen in good ol’ Wild West fashion armed only with a handgun (but no, my head could come out of my hands again);
And don’t even get me started on the opening “excitement” about propping up a collapsing supergun on the moon with a spaceship. Gerry Anderson would be spinning in his grave.
The dialogue is little better. The original “Independence Day” was probably most famous for two scenes: the impressive destruction of the White House and Bill Paxton’s ludicrously corny “We will not go quietly into the night” speech. Here trying to go one better we have not just one version of this but two with William Fichner’s General Adams chipping one in from the rough before Paxton delivers an impromptu hanger speech that is toe-curlingly excruciating.
Much of the acting is of the “I really don’t want to be here but it’s good for the pension” variety with Paxton and Goldblum going through the motions and Charlotte Gainsborough being horribly miscast as a French anthropologist running around the world on the trail of Pokemon Go characters… or symbols… or something. Only Brent Spiner and Judd Hirsch really get into their stride with likeably over-the-top performances.
Goldblum and Charlotte Gainsborough. A less likely historic romantic attachment its difficult to imagine.
If this was a standalone story it might scrape a double-Fad… but as it so horrendously sullies a classic movie experience it incurs my cinematic wrath. It might have made Roland Emmer-richer (sic)…. but my recommendation would be to get a big bag of popcorn, the original 1996 movie on DVD and enjoy. Avoid, avoid, avoid.
Playing the new generation (Hiller’s young son Dylan and the president’s daughter Patricia) are Jessie Usher and the comely Maika Monroe respectively, the latter having the pout of a young Jessica Alba and showing promise. Rounding off the young ‘uns, and playing an enormously irritating hunk/hero and his sidekick buddy are Jake (Liam Hemsworth – yes, younger brother of Chris) and Floyd (Nicolas Wright). And with the obvious needs of summer blockbusters to appeal to the ravenous Chinese market there is also Shanghai-born Angelababy as a young hotshot pilot and Chin Han as her uncle, moonbase commander Commander Jiang.
It’s hard to know where to start with criticism of this film. It’s like you’ve caught someone desecrating the grave of a dearly departed relative. The plot is ludicrous…. Uh oh…here comes another One Mann’s Movies Showcase Theatre….
The scene: onboard the alien craft high above central Asia
DRONE K’FAALL: “The use of the anti-gravity weapon worked a treat your Majesty. We have ripped up Shanghai and dumped in from a great height on London! Take that Queenie! All hail our weapons superiority! I take it we should just ‘rinse and repeat’ around the world to wipe them all out? ”
QUEEN ALIEN BEE: “No K’Fall. Let’s land in the Atlantic and then go fight them one-on-one with our little ships in the desert near Area 51.”
DRONE K’FALL: “B-b-b-but your Majesty, with our gravity weapon we could eliminate all threat, drill out the earth’s core and find what we came here for in perfect safety!”.
QUEEN ALIEN BEE: “No… that’s just what they’ll be expecting us to do…”
I thought the Oscar for the dumbest aliens of the year was a shoe-in for the ones who chose a similar tactic in “The 5th Wave” – but no… we have another contender for the crown. This ridiculous London-based CGI sequence – a virtual re-shoot of the ridiculous CGI sequence in Emmerich’s “2012” where John Cusack is fleeing by plane a collapsing Los Angeles – is mitigated only by Goldblum’s witty comment about them “Always going for the landmarks” – the best line in the film.
Elsewhere, the story and screenplay – by an army of writers (never a good sign) – is risible and an insult to intelligence, alien or otherwise. The ludicrous plot points go on and on…
Why on earth is the single landed alien craft from 1996 owned by an African warlord? If mankind have ‘benefited’ so much from the alien technology that must surely have been through the UN-dismantling of that ship?
There seems to be no logical connection between the “visions” (stolen from “Close Encounters”) and the alien craft. The visions might have well have been of the alien’s last shopping list (“six cans of Kraag beans; one bottle of Vollufi ale; … “);
The alien craft is big enough to span the WHOLE Atlantic when it lands, but – who would believe it? – comes to a stop with its edge in Washington JUST ENOUGH to dip the White House flag to a jaunty angle. #cringe;
The alien ship – apparently open to the elements – allows our heroic hunks to wander around without spacesuits;
Breathless… or not. Jessie T Usher and Liam Hemsworth (foreground) not dying of asphyxiation or cold.
At one point it looked like our curvaceous heroine was going to defeat the alien queen in good ol’ Wild West fashion armed only with a handgun (but no, my head could come out of my hands again);
And don’t even get me started on the opening “excitement” about propping up a collapsing supergun on the moon with a spaceship. Gerry Anderson would be spinning in his grave.
The dialogue is little better. The original “Independence Day” was probably most famous for two scenes: the impressive destruction of the White House and Bill Paxton’s ludicrously corny “We will not go quietly into the night” speech. Here trying to go one better we have not just one version of this but two with William Fichner’s General Adams chipping one in from the rough before Paxton delivers an impromptu hanger speech that is toe-curlingly excruciating.
Much of the acting is of the “I really don’t want to be here but it’s good for the pension” variety with Paxton and Goldblum going through the motions and Charlotte Gainsborough being horribly miscast as a French anthropologist running around the world on the trail of Pokemon Go characters… or symbols… or something. Only Brent Spiner and Judd Hirsch really get into their stride with likeably over-the-top performances.
Goldblum and Charlotte Gainsborough. A less likely historic romantic attachment its difficult to imagine.
If this was a standalone story it might scrape a double-Fad… but as it so horrendously sullies a classic movie experience it incurs my cinematic wrath. It might have made Roland Emmer-richer (sic)…. but my recommendation would be to get a big bag of popcorn, the original 1996 movie on DVD and enjoy. Avoid, avoid, avoid.