Wednesday, 30 November 2016
Monday, 28 November 2016
- Five Forgotten Stories, John Hall
- His Nerves Extruded, Stephen Theaker
- Pilgrims at the White Horizon, Michael Wyndham Thomas
- Professor Challenger in Space, Stephen Theaker
- Quiet, the Tin Can Brains Are Hunting! Stephen Theaker
- Space University Trent: Hyperparasite, Walt Brunston
- The Day the Moon Wept Blood, Stephen Theaker
- The Doom That Came to Sea Base Delta, Stephen Theaker
- The Fear Man, Stephen Theaker
- The Mercury Annual, Michael Wyndham Thomas
Snap them up!
Saturday, 26 November 2016
Wednesday, 23 November 2016
Star Trek, Vol. 1, by Mike Johnson, Stephen Molnar and Joe Phillips (IDW Publishing) | review by Stephen Theaker
Monday, 21 November 2016
Friday, 18 November 2016
Full disclosure: I am not a comic book nerd, and I knew nothing about Doctor Strange before seeing the latest Marvel blockbuster that bears his name. I am, however, quite familiar with the acting talents of Benedict Cumberbatch, Tilda Swinton, and Chiwetel Ejiofor. So it was with great enthusiasm that I anticipated this superhero origin film. The wait paid off.
Doctor Strange, directed by Scott Derrickson, takes to the next level the twisted cityscapes of Inception (2010) while detailing the collapse and reinvention of a gifted a-hole who loses sight of his own capacity for error. As the protagonist undertakes a journey both physical and spiritual, the themes that emerge include Western versus Eastern values and black-and-white thinking versus contextualism.
He Had It Coming
Doctor Stephen Strange (Cumberbatch) is a god of Western medicine, a highly demanded neurosurgeon with smooth hands and a photographic memory. He is precise, calm, brilliant, and in control. However, Strange is also a cold-hearted narcissist. He puts down those who question him and turns down patients if helping them won’t bring him recognition. He treats
on-again, off-again love interest and fellow surgeon Christine Palmer (Rachel McAdams) like a pair of latex gloves. He’s also a slave to time because he wants to solidify his name in the annals of medical history.
Then Strange gets in a horrible car accident that ruins his steady hands. On the advice of a fellow who miraculously recovered from a spinal injury, Strange heads to Katmandu, Nepal. He wants to get his hands fixed and get back into the brain game ASAP. He ends up in Kamar-Taj, where Mordor (Ejiofor) introduces him to The Ancient One (Swinton) and her followers, a secretive philosophical warrior group that uses “the mystic arts” to protect the world.
Strange gets sucked into the group’s effort to stop The Ancient One’s wayward protégé Kaecilius (Mads Mikkelsen) from destroying the Earth. Kaecilius has formed an alliance with Dark Dimension ruler Dormammu, who sees the Earth as a trophy in his quest to take over the multiverse. In exchange for eternal life, Kaecilius helps Dormammu.
True to Marvel form, there’s some comic relief. For instance, Strange repeatedly and unsuccessfully attempts to get super-serious librarian Wong to laugh. “Wong?” he asks. “Just Wong? Like Adele?” Then there’s the temperamental Cloak of Levitation that Strange encounters. It tugs Strange around like a child and flaps and twists as it cartoonishly dispatches an enemy.
Surely the most enigmatic character in this film is The Ancient One. When Stephen “I do not believe in fairy tales” Strange first encounters her, he’s skeptical of her Eastern approach. He’s seen her spiritual body charts in “gift shops”.
The Ancient One, slow to anger, finds his insults amusing and quickly shows him her capabilities. What makes The Ancient One so captivating is her contextual approach to problems. She’s prone to ask herself what
makes the most sense in a given situation to best serve the greater good. Thus, The Ancient One bends entire cities, but she also bends the rules. Strange eventually sums her up well: “She’s complicated.” Her way of thinking will play a key role in this story and in Strange’s transformation.
In a brilliant reversal, the filmmakers give a nod to The Ancient One’s philosophy by casting a female in a role traditionally depicted by a male.
Change Is Good
During a physical therapy session, Strange contemptuously refers to his therapist as “Bachelor’s Degree”. This is the kind of guy we want to watch! We can’t necessarily relate to a neurosurgeon, but we can relate to selfish behaviour.
Doctor Strange is, at its core, a study in overcoming closedmindedness. “You cannot beat a river into submission,” says The Ancient One. “You have to surrender to its current and use its power as your own.”
Strange’s fall is a big one, and Cumberbatch effectively welcomes the viewer to the protagonist’s journey. The character’s shaking hands and his unyielding determination help achieve viewer empathy; it’s a pleasure to go on this journey with him. You want him to grow, and you want to grow with him. – Douglas J. Ogurek *****
Wednesday, 16 November 2016
Monday, 14 November 2016
Wednesday, 9 November 2016
The Zombies That Ate the World, Vol. 1: An Unbearable Smell! by Jerry Frissen and Guy Davis (Humanoids) | review by Stephen Theaker
Monday, 7 November 2016
This Halloween season, horror film fans had slim pickings at the theatre. And I wouldn’t be surprised if, like me, they felt disappointed when they learned about the season’s feature offering: Ouija: Origin of Evil.
Last year, Ouija had a few scares, but overall, it wasn’t memorable. Thus, one would think that when filmmakers questioned whether they should do another one, surely the planchette would slide to “no”. But that wasn’t the case. A new writer/director (Mike Flanagan) and co-writer (Jeff Howard) came on board – pun intended – and, surprisingly, they pulled off a much better film.
Ouija: Origin of Evil doesn’t offer much that the horror aficionado hasn’t seen before. However, this story of a Hasbro classic gone haywire effectively uses the tools at its disposal, offering an intimate and creepy take, replete with nerve-wracking scenes and jump scares, on how the game wreaks havoc on a small family living in 1960s Los Angeles.
Alice Zander and daughters Lina and Doris use rigged séances not so much as a money-making scheme, but rather as a means of bringing solace to those who’ve lost loved ones. Then they add a Ouija board to spice up their routine. Things get dicey when a spirit starts communicating with youngest daughter Doris via the board. Is it deceased husband/father Roger, or is it something more malicious? Father Tom Hogan, the priest/headmaster at the girls’ school, gets involved and the spiritual threat intensifies.
The Ouija rules are simple: 1) never play alone; 2) never play in a graveyard; and 3) always say goodbye. But if you’re going to show rules in a movie, you better break them! And Ouija: Origin of Evil does.
The characters in Ouija: Origin of Evil are more fully developed than those in Ouija. Widow Alice struggles to make ends meet, yet she genuinely wants to use her machinations to help people. She even declines payment from a client who nearly has a heart attack. Teenager Lina is bright and well-behaved, but her interest in classmate Mikey gets jeopardized by all the spiritual mischief going on. Yet it’s young Doris, bullied by her classmates, who undergoes the biggest change under the spell of the spirits. Watch for a particularly satisfying scene in which one of Doris’s tormentors gets a taste of his own medicine. In another scene, Doris asks Mikey if he wants “to hear something cool”, then proceeds to describe in intricate detail what it feels like to be strangled.
Flanagan and company use several techniques to jiggle the nerves. For instance, when the camera lingers on ordinary objects, one cringes with uncertainty: will something pop onto the screen? In the opening scene, the only sound that fills the séance parlour is that of the clock. Done before, but still effective.
Still, nothing jacks up the heart rate more than when a character peers through the planchette’s glass opening, which helps identify any spiritual entities that might be present. As the panning camera shows a warped view of a room, there’s always the chance that something will appear. It’s intense!
The fear potency gets stronger with a host of other horror film tricks: ceiling walking, wall crawling, milky eyes, impossible facial contortions, and getting yanked around by unseen entities.
Ouija: Origin of Evil may not have broken new ground in the horror genre, but it did entertain consistently. In an age of Candy Crush Saga, Minecraft, and other smartphone games, it’s refreshing to see people come together around a board game-inspired film for some good old-fashioned scares. – Douglas J. Ogurek ****
Wednesday, 2 November 2016
Marshals, Book 1: Darkness and Light, by Dennis-Pierre Filippi and Jean-Florian Tello (Humanoids) | review by Stephen Theaker