Steve Orlando’s Midnighter has been one of the most exciting action books every month since its debut. Midnighter #9 continues that trend with a stylish, thrilling story that finds Midnighter squaring off against the Suicide Squad. Click here cover below to read my review of the comic over at GeekRex, or just go buy the issue and give it a shot yourself.
17-year old Kansas Bowling had a dream: To make a campy, 60’s inspired horror film about a slasher in prehistoric times stalking a group of cavewomen. That dream, friends, came true. It is called BC BUTCHER. And it is really quite something.
Gaspar Noé’s Love is an experiment: Does portraying actual, unsimulated sex between its actors get at something more honest in this otherwise staid indie relationship drama… or does it just titillate its audience?
David Bowie died of cancer late Sunday night. He was 69 years old. Two days before he died, his album, Blackstar, was released, and the music video for one single, “Lazarus,” came out online. “Lazarus” opens with the line “Look up here, I’m in heaven,” and features Bowie lying in a hospital bed, eyes bandaged and replaced by buttons; it’s clear that Bowie had known for some time what was coming, and that “Lazarus” – and, indeed, Blackstar in general – was his farewell. While it makes the song harder to listen to, it’s also a beautiful opportunity to say goodbye for fans… and, I’d imagine, for Bowie himself.
Even on his deathbed, Bowie was capable of putting on a show, turning the act of dying itself into genuine, heartfelt art. Of course, that’s hardly unheard of with the greats. Johnny Cash’s cover of “Hurt,” Freddie Mercury singing “The Show Must Go On,” Warren Zevon’s “Keep Me In Your Heart,” even Glenn Campbell dealing with Alzheimer’s in “I’m Not Gonna Miss You,” and that’s not even getting into classical music – all prime examples of artists giving us insight, either through their words or through their performance, into being at the cusp of something massive and scary and utterly mysterious.
Understandably, I suppose, I’ve had the idea of an artist exploring their own impending death on my mind all day. And if that’s the case, it means I’m thinking about one thing in particular, the work of art that, to me, best exemplifies the impulse to explore the unexplorable: All That Jazz, Bob Fosse’s semi-autobiographical 1979 musical. I’m going to spoil the film heavily in the paragraphs to come, so if that’s something you care about… go see the movie. Seriously, it’s one of the best American films ever made. What are you waiting for? If you don’t care about spoilers, and I don’t believe you need to in this context, I do hope you’ll read on.
It’s one of the best taglines in movie history, chilling, visceral, and immediately identifiable. Fittingly, it belongs to perhaps the best piece of sci-fi horror ever made: Ridley Scott’s 1979 Alien. Using still-astonishing creature design from H. R. Giger and practical effects that wow to this day, Scott crafted one of the most intense horror experiences of a decade that basically gave us half the modern horror canon. Alien landed in 1979, two years after the release of Star Wars created a seemingly insatiable desire for outer space adventure
Smartly, James Cameron’s sequel, Aliens, pivots rather than tackling Scott’s film head-on, turning the series into an eerie sci-fi action vehicle. Sure, it’s creepy, but that’s just because the creature design remains some of the finest ever committed to film; Cameron otherwise has little-to-no interest in trying to build a horror movie. And that’s fine! Aliens is bigger than Alien, it’s bolder than Alien, and it’s damn near as good as Alien, a relative rarity when it comes to sequels. Trying to recreate the tense thrills a second time would have almost certainly led to diminishing returns, so by varying up the genre a bit, Cameron was able to approach the same material in a different way, to feel fresh and unexpected.
Every year, there are dozens of articles on “Oscar Snubs and Surprises.” It’s become a cottage industry, a quick and easy way to get a handful of clicks from a ton of folks whose favorite films weren’t nominated, and it returns year after year because, well, the Oscars typically make a few mistakes. Don’t get me wrong, it’s pretty rare for an outright bad movie to win (though not impossible *cough*Crash*cough*), but typically, the Academy aims to please the totally middlebrow older white people who make up most of its voting block. While it has led to some notorious snubs, they are often counterbalanced by the pleasant surprises. Not this year, though. In 2015, the Oscar snubs were the only story they left us to talk about.
See, this year was a boring one for nominations. Most of the categories were pretty easy to guess 2-3 months ago. Keeping in mind that the Academy never, ever awards more avant-garde films like Under the Skin and banishes entire mainstream genres from consideration most years, it isn’t hard to figure out what sort of films and what sort of performances the Oscars typically reward, though one or two out-of-the-box films typically sneak in each year. But this year, there weren’t really any pleasant surprises for film fans… and there were an awful lot of very, very telling snubs.
Liam Neeson returns as Bryan Mills, superspy/superdad, in Taken 3, the worst film of the franchise. Avoid it like the plague, my friends.
Not sure how you felt about last night’s ANT-MAN trailer during Agent Carter? I can’t actually help you with that. But I can tell you to keep an eye on Marvel’s newly-started Ant-Man comic series by Nick Spencer. Want to know more?
In A Walk Among the Tombstones, Liam Neeson plays Matt Scudder, an unlicensed private eye with a talent for digging into the seedy side of 1990s New York City. But when he’s asked to help track down the men who kidnapped and brutally murdered the wife of a local drug dealer, he finds himself getting in deep with some very bad people.