Into the Unknown: a Journey Through Science Fiction, curated by Patrick Gyger (Barbican) | review by Stephen Theaker

This exhibition, billed as “the genre-defining exhibition of art, design, film & literature”, began running at the Barbican on 3 June 2017 (the day the TQF co-editors and their families attended), and would remain open until 1 September 2017. It was announced in 2016, and I had been looking forward to it ever since, but in the event it was, despite some remarkable exhibits, a bit of a disappointment. Part of that can perhaps be laid at the tickets, which promised three parts, but only the first was the exhibition proper, and there wasn’t very much of it.

John Wyndham: BBC Radio Drama Collection, by John Wyndham et al. (BBC Worldwide) | review by Stephen Theaker

This marvellous audiobook collects five full-cast BBC adaptations of John Wyndham’s classic science fiction work – five novels, plus a short story – as well as Beware the Stare, a half-hour documentary from 1998. It’s a ten-hour journey into some catastrophes that are not at all as cosy as I remembered.

Eastercon 2017: Innominate | review by Stephen Theaker

I only attended for two days of this four-day convention, Saturday and Monday. It took place in Birmingham in April 2017, at a hotel close to the NEC, near enough for me to travel to in an hour or so on public transport, so I had bought a full membership fairly early on without knowing whether I would be free or not. My daughter and I attended on Saturday. I bought her a one-day ticket at a very reasonable rate. She was interested in attending a talk on manga and anime, and a session on painting alien worlds, and enjoyed them both. We also watched the BSFA awards, which were good, convivial fun, and then the first episode of Doctor Who season ten, which was shown on three huge screens in the main events room.

My daughter enjoyed herself enough to recommend the event to my younger daughter, my wife, and the two children of my co-editor, so they all came with us on the Monday. Upon arriving we had the nice surprise of discovering that my older daughter’s painting from the Saturday session had won a prize in the children’s art show, which got the day off to a great start. It was a banner day too for my younger daughter, who for the very first time in her life, after being asked for her name, had someone recognise it and say, “Oh, like Telzey Amberdon.”

That day we attended hair-braiding and journal decoration sessions, which were interesting, even for those of us without hair or journals (the hair I lost long ago; the journal I gave away to a little girl who didn’t have her own). Between the two workshops we attended the closing ceremony, which must have been an odd experience for the four members of our group who had only arrived an hour and a half before.

Not staying at the hotel overnight, only attending a couple of panels, not being there for the full four days, and not really talking to anyone in the bar, I suppose most people would say I didn’t properly get stuck into the convention, but I’d still say it was my favourite convention experience yet. A few years ago I said to an occasional TQF contributor that I didn’t really like conventions. He told me that perhaps I had been going to the wrong ones, and after this weekend I think he may have been right.

On the surface this convention was almost completely indistinguishable from the last one I attended in York (my favourite convention before this one), but a few small and significant differences emerged over the couple of days. The strand of events for children was one. (If we’d realised there was a Lego Minifigure event on Sunday we’d have gone on that day too.) It also seemed to have more fans as opposed to career-orientated writers (something at least one writer has grumbled about). And we didn’t hear anyone bellowing across the convention rooms like territorial wildebeests.

Course, my experience of other cons is probably coloured to some extent that I went there to present various reports to the AGMs, and watch the awards I’d administered play out, appear on panels a couple of times, and one time be the secretary and treasurer for the whole bleeding thing, whereas Eastercon was pure relaxation, nothing to do except listen to clever people talk about things (Aliette de Bodard was a standout contributor to both panels I attended) or watch the children get on with fun and creative activities.

Best of all, there were plenty of places to sit when nothing was happening. Sofas everywhere, a quiet room, a fan lounge; it really contrasted well with all the times I’ve been at conventions and struggled to find somewhere to sit and read my new books. There was no goody bag, and no convention souvenir book, two things some attendees of other cons care very deeply about, but I wasn’t at all bothered by their absence. The daily newsletters about convention occurrences were great fun.

If Eastercon returns to Birmingham we’ll definitely go again, and I think we enjoyed it enough that we could even be tempted a bit further afield. ****

Willful Child by Steven Erikson | review by Stephen Theaker

“Dad! First contact! Vulcans!” “Wish it was, boy,” Harry replied. “More like… idiots.” Three-eyed aliens visiting Earth in the “Age of Masturbation” leave behind a spaceship and get us started on a programme of galactic expansion. A century or so later Captain Hadrian Alan Sawback finagles his way into command of the starship Willful Child. He’s a terrible sexist, obsessed with trying to have sex with the female crew members and making sure male crew members know their place: not on away missions and well out of the limelight.

Westworld, Season 2, by Jonathan Nolan, Lisa Joy & J.J. Abrams | review by Rafe McGregor

Narrative diffusion taken too far in underwhelming second season.

Stephen Theaker was not impressed by Westworld, the 2016 HBO series based on Michael Crichton’s 1973 film of the same name. In his review in TQF59, Stephen introduces the premise of the series as a live action role play version of the videogame Red Dead Redemption, where the player characters are actual human beings (guests) and the non-player characters androids (hosts). He astutely identifies a paradox in the USP of the holiday park: the guests are either motivated by wanting to experience life in the Old West (or at least the Old West as represented in the Western movie genre) or by wanting to act out their fantasies free of consequence. The former would likely be horrified by the behaviour of the latter (which involves a great deal of physical and/or sexual abuse of the hosts) and the latter would be afraid of their behaviour being recorded (during the course of monitoring the hosts). And indeed one of the disclosures in season 2 is that Delos (the company that owns Westworld) have built a database of every single action of every single guest that has ever visited (albeit not for the purpose of extortion). Setting the paradox aside, however, I thought that the sophisticated exploration of evaluative and descriptive conceptions of humanity (and the relationship between them) made for compelling viewing and I would have pushed Stephen’s three stars to all the way up to five.

Nominations for the British Fantasy Awards 2018!

This year's nominees in what are now my second-favourite set of awards, the British Fantasy Awards, were announced last Friday, July 6.

Don't get excited, we are not nominated, I'm afraid! I did however contribute in the tiniest of ways to three of the five nominees in the magazine/periodical category during the relevant period – to the magazines Interzone (three reviews, I think) and Black Static (four reviews), and to the website Ginger Nuts of Horror (they were kind enough to host my piece shilling our Red Nose Day fake reviews). So you know who to root for!

The BFS's announcement is here, although note that at the time of writing it isn't quite accurate regarding the voting process: same as in previous years since 2011, there was only one round of voting from the members of the British Fantasy Society and FantasyCon 2017 and 2018, not two.

That was preceded by anyone interested contributing to a crowdsourced suggestions list – mostly writers, editors and publishers, looking at the way it built up day by day, in little clumps of related books and stories. I spent quite a lot of time researching suitable suggestions, checking word counts and publication dates and things like that, and it's been cheering to see many of those make it through to the shortlists.

Make sure your work is on there next year, and make sure it's in the right category!

After the voting was over, the four best-placed eligible items in each category went forward as the provisional shortlist (or five where there was an unbreakable tie), and then juries had the opportunity to add up to two additional items as egregious omissions (which could be on the grounds of quality, genre relevance, gender balance, etc).

The resulting nominees are:

Best Anthology
2084, ed. George Sandison (Unsung Stories)
Dark Satanic Mills: Great British Horror Book 2, ed. Steve Shaw (Black Shuck Books)
Imposter Syndrome, ed. James Everington & Dan Howarth (Dark Minds Press)
New Fears, ed. Mark Morris (Titan Books)
Pacific Monsters, ed. Margret Helgadottir (Fox Spirit)

Best Artist
Ben Baldwin
Jeffrey Alan Love
Victo Ngai
Daniele Sera
Sophie E. Tallis
Sana Takeda

Best Audio
Anansi Boys (by Neil Gaiman, adapted by Dirk Maggs for Radio 4)
Brave New Words podcast (Ed Fortune and Starburst Magazine)
Breaking the Glass Slipper podcast (Lucy Hounsom, Charlotte Bond & Megan Leigh)
Ivory Towers (by Richard H Brooks, directed by Karim Kronfli for 11th Hour Audio Productions)
PseudoPod podcast (Alasdair Stuart and Escape Artists)
Tea & Jeopardy podcast (Emma & Peter Newman)

Best Collection
Norse Mythology, by Neil Gaiman (Bloomsbury)
Strange Weather, by Joe Hill (Gollancz)
Tanith by Choice, by Tanith Lee (Newcon Press)
Tender: Stories, by Sofia Samatar (Small Beer Press)
You Will Grow Into Them, by Malcolm Devlin (Unsung Stories)

Best Comic / Graphic Novel
Bitch Planet Vol 2: President Bitch, by Kelly Sue DeConnick, Taki Soma and Valentine de Landro (Image)
Grim & Bold, by Joshua Cornah (Kristell Ink)
Monstress, Vol. 2, by Marjorie Liu and Sana Takeda (Image)
Tomorrow, by Jack Lothian and Garry Mac (BHP Comics)
The Wicked + The Divine Vol 5: Imperial Phase Part 1, by Kieron Gillen and Jamie McKelvie (Image)

Best Fantasy Novel (the Robert Holdstock Award)
Age of Assassins, by R.J. Barker (Orbit)
The Court of Broken Knives, by Anna Smith Spark (HarperVoyager)
The Ninth Rain, by Jen Williams (Headline)
Under the Pendulum Sun, by Jeanette Ng (Angry Robot)

Best Film / Television Production
Black Mirror, Series 4, by Charlie Brooker (Netflix)
Get Out, by Jordan Peele (Universal Pictures)
The Good Place, Season 1, by Michael Schur (Netflix)
Star Wars: The Last Jedi, by Rian Johnson (Lucasfilm)
Stranger Things, Season 2, by Matt & Ross Duffer (Netflix)
Twin Peaks: the Return, by Mark Frost & David Lynch (Sky Atlantic)
Wonder Woman, by Zack Snyder, Allan Heinberg & Jason Fuchs (Warner Bros.)

Best Horror Novel (the August Derleth Award)
Behind Her Eyes, by Sarah Pinborough (HarperCollins)
The Boy on the Bridge, by M.R. Carey (Orbit)
The Changeling, by Victor LaValle (Spiegel & Grau)
The Crow Garden, by Alison Littlewood (Jo Fletcher Books)
Relics, by Tim Lebbon (Titan Books)

Best Independent Press
Fox Spirit
Grimbold Books
NewCon Press
Salt Publishing
Unsung Stories

Best Magazine / Periodical
Black Static, ed. Andy Cox (TTA Press)
Ginger Nuts of Horror, ed. Jim Mcleod
Grimdark Magazine, ed. Adrian Collins
Interzone, ed. Andy Cox (TTA Press)
Shoreline of Infinity, ed. Noel Chidwick

Best Newcomer (the Sydney J Bounds Award)
R.J. Barker, for Age of Assassins (Orbit)
S.A. Chakraborty, for The City of Brass (HarperVoyager)
Ed McDonald, for Blackwing (Orion)
Jeanette Ng, for Under the Pendulum Sun (Angry Robot)
Anna Smith Spark, for The Court of Broken Knives (HarperVoyager)

Best Non-Fiction
Gender Identity and Sexuality in Science Fiction and Fantasy, ed. F.T. Barbini (Luna Press)
Ginger Nuts of Horror, ed. Jim Mcleod
Luminescent Threads, ed. Alexandra Pierce & Mimi Mondal (12th Planet Press)
No Time to Spare: Thinking About What Matters, by Ursula K. Le Guin (Houghton Mifflin Harcourt)
Paperbacks from Hell: The Twisted History of 70s and 80s Horror Fiction, by Grady Hendrix (Quirk)
Twin Peaks: Fire Walk with Me, by Maura McHugh (Electric Dreamhouse Press)

Best Novella
Brother’s Ruin, by Emma Newman (Tor.com)
Cottingley, by Alison Littlewood (NewCon Press)
The Murders of Molly Southbourne, by Tade Thompson (Tor.com)
Naming the Bones, by Laura Mauro (Dark Minds Press)
Passing Strange, by Ellen Klages (Tor.com)
A Pocketful of Crows, by Joanne Harris (Gollancz)

Best Short Story
The Anniversary, by Ruth E.J. Booth (Black Static #61)
Four Abstracts, by Nina Allan (New Fears)
Illumination, by Joanne Hall (Book of Dragons)
The Little Gift, by Stephen Volk (PS Publishing)
Looking for Laika, by Laura Mauro (Interzone #273)
Shepherd’s Business, by Stephen Gallagher (New Fears)

Lots of cool stuff, even if this year only five out of forty-two things I voted for made it to the shortlist! I think that's my lowest score for a while. I had really hoped to see The Adventure Zone in the audio category, and the Coode Street Podcast. I thought Amatka by Karin Tidbeck might have squeaked into best fantasy novel. Same for Legion in film/television, though that category is very strong. I thought The Book of Swords might make it into the best anthology category, but I have to admit I haven't read it yet. Bit of a shame to see two two all-male shortlists, but many categories are well-balanced.

The one real oddity I'm aware of is that Stephen Volk's domestic thriller The Little Gift is up for best short story, because as far as I could tell there wasn't any fantasy in it at all (it's about a bloke who has an affair). Maybe other people thought the mean cat was a demon or a reincarnation or something? There is another thriller on the best horror novel shortlist, but I was assured by none other than Ramsey Campbell that there is a fantasy element to that one.

The jurors have also been announced:

• Anthology: Adam Baxter, Pauline Morgan, Pete Sutton, Maz Wilberforce, Virginia Wynn-Jones
• Artist: Ruth Booth, Alex Gushurst-Moore, Helen Scott, Catherine Sullivan, Tania Walker
• Audio: Susie Prichard-Casey, William Shaw, Allen Stroud
• Collection: Richard Barber, Peter Coleborn, Katherine Inskip, Shona Kinsella, Laura Langrish
• Comic/Graphic Novel: Ed Fortune, Emily Hayes, Elaine Hillson, Kiwi Tokoeka, Susan Tarrier
• Fantasy Novel (the Robert Holdstock Award): David Allan, Rebecca Davis, Michaela Gray, Caroline Hooton, Kirsty Stanley
• Film/Television Production: Kimberley Fain, Theresa Derwin, Craig Sinclair, Gareth Spark, Paul Yates
• Horror Novel (the August Derleth Award): Charlotte Bond, Sarah Carter, Amy Chevis-Bruce, Ross Warren, Mark West
• Independent Press: Stewart Hotston, Georgina Kamsika, Aleksandra Kesek, Joni Walker
• Magazine/Periodical: Colleen Anderson, Helen Armfield, Dave Jeffery, Alasdair Stuart, Chloë Yates
• Newcomer (the Sydney J. Bounds Award): Eliza Chan-Ma, Elloise Hopkins, Steven Poore, Erica Satifka, Neil Williamson
• Non-Fiction: Laura Carroll, Lee Fletcher, D Franklin, Emeline Morin, Graeme K. Talboys
• Novella: Joel Cook, Alicia Fitton, Susan Oke, Rosanne Rabinowitz, Stephen Theaker
• Short Fiction: Andrew Hook, Terry Jackman, Juliet Kemp, Tim Major, Sam Mohsen

There are a lot of names I don't recognise, but that's not a bad thing. I don't subscribe to the idea that the jurors need to be famous writers – they just need to be keen readers. Great to see lots of female jurors involved. Interesting that there is a quartet of BFS committee members on the juries this time, something the society has often tended to avoid, given the conflict of interest concerns that led to the introduction of the jury system.

I'm there on the best novella jury. It's been an extremely enjoyable experience – an excuse to prioritise reading! We had only a fortnight or so to consider our egregious omissions, so I had a hectic time reading as many likely candidates as I could. Once that was over, it only took a couple of days to read all the nominees, so I've been idling rather since then. A big difference from last year, where I had a year's worth of 2000 AD to read at this stage!

Fun as it has been both times, I don't think I'll volunteer again next year. Other people should get a chance – if you have the same people on the juries over and over things can get stale – and also because I'd like to do what I did back in 2009, and read and review a category or two as a summer reading challenge on the blog next year.

Anyway, best of luck to all the nominees! The winners will be announced on October 21, at FantasyCon 2018. Ticket information here. If you would like to vote in next year's British Fantasy Awards, join the British Fantasy Society. A bargain at £20!

The Shape of Water | review by Rafe McGregor

Black Lagoon to Baltimore via the New Weird.

The Shape of Water, which was released in December 2017, received thirteen nominations for the 2018 Academy Awards – more than any other film – and won four, including Best Picture and Best Director. The film was conceived by Guillermo del Toro, who co-authored both the screenplay (with Vanessa Taylor) and the novel (with Daniel Kraus). The latter was released in March this year and publisher Macmillan are clear that it is not a novelisation, but a project that “has been developed from the ground up as a bold two-tiered release – one story interpreted by two artists in the independent mediums of film and literature.” I am not entirely convinced by this denial, having found the work lacking in the characteristics I associate with literature. The book should also not be confused with Andrea Camilleri’s 1994 Italian novel of the same name, La forma dell'acqua, which inaugurated the popular Inspector Montalbano detective series, was translated into English in 2002, and appeared on UK television screens in 2012. To return to the film, Del Toro’s premise picks up where an alternative Creature from the Black Lagoon (1954, directed by Jack Arnold) might have left off, with the merman or piscine humanoid captured rather than killed.  

Theaker's Quarterly Awards 2018: the winners!

As announced in Theaker's Quarterly Fiction #62, these are the winners of the Theaker's Quarterly Awards 2018. Voting was open to the public from February 11 to 25, and people could vote for as many items as they wanted in each category. Items were eligible if they had appeared in or were reviewed in the previous four issues of the magazine. Here are the results!

Audio

• 1st John Wyndham: BBC Radio Drama Collection, by John Wyndham et al. (BBC Worldwide)
• 2nd Children of Eden, by Joey Graceffa and Laura L. Sullivan (Simon and Schuster Audio)
• 3rd The Dispatcher, by John Scalzi (Audible)

Books

• 1st Pirate Utopia, by Bruce Sterling (Tachyon Publications)
• 2nd I Am Providence, by Nick Mamatas (Night Shade Books)
• 3rd Metronome, by Oliver Langmead (Unsung Stories)

Comics

• 1st Adventure Time: Marceline Gone Adrift, by Meredith Gran and Carey Pietsch (Boom! Studios)
• 2nd X-Men: Legacy by Simon Spurrier, Tan Eng Huat and chums (Marvel)
• 3rd The Legion of Super-Heroes: The Great Darkness Saga, by Paul Levitz, Keith Giffen, Larry Mahlstedt and chums (DC)

Events

• 1st Eastercon 2017: Innominate
• 2nd Into the Unknown: a Journey Through Science Fiction, curated by Patrick Gyger (Barbican)

Films

• 1st Star Wars: The Last Jedi, by Rian Johnson (Lucasfilm et al.)
• 2nd Blade Runner 2049, by Hampton Fancher and Michael Green (16:14 Entertainment et al.)
• 3rd Rogue One: A Star Wars Story, by Chris Weitz and Tony Gilroy (Disney)

Music

• 1st Humanz (Deluxe), by Gorillaz (Parlophone)

Television

• 1st Sherlock, Series 4, by Mark Gatiss and Steven Moffat (BBC One)
• 2nd Westworld, Season 1, by Jonathan Nolan, Lisa Joy and chums (HBO/Sky Atlantic)
• 3rd Legion, Season 1, by Noah Hawley and chums (FX)

Issue of TQF

• 1st Theaker’s Quarterly Fiction #59, edited by Stephen Theaker and John Greenwood
• 2nd Theaker’s Quarterly Fiction #58: Unsplatterpunk, edited by Douglas J. Ogurek
• 3rd Theaker’s Quarterly Fiction #60, edited by Stephen Theaker and John Greenwood

TQF cover art

• 1st Theaker’s Quarterly Fiction #60, art by Howard Watts
• 2nd Theaker’s Quarterly Fiction #59, art by Howard Watts
• 3rd Theaker’s Quarterly Fiction #61, art by Howard Watts

Fiction from TQF

• 1st Bound for Glory, by Allen Ashley (TQF61)
• 2nd Man + Van, by David Penn (TQF59)
• 3rd The Lost Testament, by Rafe McGregor (TQF60)

Congratulations to all the winners! To claim their prestigious Theaker’s Quarterly Awards trophy, winners should email a postal address to us at theakersquarterlyfiction@gmail.com.

Theaker's Quarterly Fiction #62: out now!

free epub | free mobi | Free pdf | print UK | print USA | Kindle UK | Kindle US

We really needed to start work on our Unsplatterpunk special, so at first we released Theaker’s Quarterly Fiction #62 just in pdf form. More formats are now available!

Issue sixty-two contains three stories: “The Nine Dread Ladies of the Tyranium” by Antonella Coriander, “Dundoronum” by Stephen Theaker and “Listen to the Loudest Whisper” by Walt Brunston, plus twenty-one reviews, all by Stephen Theaker.

It also features some “fascinating” statistics about Stephen's lifetime of reading, and the announcement of the winners of the Theaker's Quarterly Awards 2018!

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Here are the superb and mostly pseudonymous contributors to this issue:

Antonella Coriander knows when you’ve been naughty, and she’s going to use that information against you. To this issue she supplies the latest adventure of Beatrice and Veronique: “The Nine Dread Ladies of the Tyranium”.

Howard Watts provides the exceptional wraparound cover for this issue. He is a writer, artist and composer living in Seaford. His artwork can be seen in its native resolution on his DeviantArt page: http://hswatts.deviantart.com. His novel The Master of Clouds is available on Kindle.

Stephen Theaker is the co-editor of Theaker’s Quarterly Fiction. His reviews, interviews and articles have appeared in Interzone, Black Static, Prism and the BFS Journal. To this issue he supplies “Dundoronum”, an adventure of Rolnikov and Pelney.

Walt Brunston’s adaptation of the classic television story, Space University Trent: Hyperparasite, is now available on Kindle. To this issue he supplies “Listen to the Loudest Whisper”, a new instalment in the adventures of the Two Husbands.

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As ever, all back issues of Theaker’s Quarterly Fiction are available for free download.

Deadpool 2 | review by Douglas J. Ogurek

Masked chatterbox returns with frenetic blend of violence, vulgarity, and pop culture references perfect for distracted contemporary audience

I’m getting a little tired of superhero movies. Aren’t you? They’re starting to blend together, and they’re taking themselves too seriously. Thankfully, Wade Wilson/Deadpool (Ryan Reynolds) has returned to commiserate with us in Deadpool 2, directed by David Leitch. This time, the even more reckless antihero strives to prevent abused fourteen-year-old mutant Russell/Firefists from harming humans. The quick-witted, potty-mouthed and in some ways self-absorbed Deadpool delivers a barrage of pop culture quips and ultra-violent dispatches of scumbags.

Black and Brown Planets, ed. by Isiah Lavender III | review by Stephen Theaker

Subtitled The Politics of Race in Science Fiction, this book (University Press of Mississippi, hb) aims to show “what SF criticism means when joined with critical race theories and histories of oppression”. Part one, Black Planets, features essays about African-Americans and sf. Lisa Yaszek introduces the idea of “The Bannekerade: Genius, Madness, and Magic in Black Science Fiction”, explaining how Benjamin Banneker’s life has inspired stories of “black technoscientific genius”. The essay identifies several interesting works, but it’s not clear that there are many distinct examples of the Bannekerade.

The City & The City | review by Rafe McGregor

Detecting the New Weird.

By curious coincidence, cinematic adaptations of works by both of the best-known practitioners of the New Weird have reached the small screen in the UK within a month of each other. In my review of Alex Garland’s Annihilation in March, I introduced the New Weird and noted that the term either referred to a new subcategory of speculative fiction that explored humanity’s place in the world in the era that sociologists are fond of calling ‘late modernity’ or a deconstructive take on the weird fiction of H.P. Lovecraft that became so influential after his death. The genre was established with the publication of The New Weird, a collection of short fiction published by Jeff and Ann VanderMeer in 2008, and consists of two main strands, one in the US and the other in the UK. In the former, VanderMeer himself published the Southern Reach Trilogy, which begins with Annihilation, in 2014. In the latter, China Miéville published King Rat much earlier, in 1998, and The City & the City constituted one of his distinctively urban contributions to the genre, published in 2009. While the New Weird has existed for at least two decades and been an established genre for a decade, none of either VanderMeer or Miéville’s work has to my knowledge appeared on either the big or small screen – until now, when we have a Netflix film released in March and a BBC television mini-series released in April. This is of course great news for New Weird enthusiasts and I’ll return to the question of whether the New Weird is about to reach an audience the (Old) Weird never did in my conclusion.

Avengers: Infinity War | review by Douglas J. Ogurek

Big purple guy gives Avengers/Guardians of the Galaxy a run for their money, and helps them make a ton of money

Since Robert Downey Jr’s Tony Stark first blasted onto the scene in Iron Man (2008), the Marvel Cinematic Universe (MCU) has pumped out 18 additional films… and changed the moviegoing landscape. Many thought that the latest offering, Avengers: Infinity War, which unites most of the Avengers plus the more adult-focused Guardians of the Galaxy in one of the most expensive movies ever made, was bound to break the opening weekend box office record. It did.

Rampage | review by Douglas J. Ogurek

MONSTERS! + The Rock + Jeffrey Dean Morgan + ecological awareness = entertainment with a purpose.

The arcade game Rampage stomped onto the scene in the mid-eighties. The player, assuming the identity of one of three gigantic creatures, attempted to pound the crap out of a city. It was dumbed-down, straightforward fun. One could say the same of director Brad Peyton’s latest blockbuster film loosely based on the game.

A Quiet Place | review by Douglas J. Ogurek

Silence means survival in ultra-tense film that resounds thunderously within horror canon

Three minutes into A Quiet Place, I was about to grab some popcorn, when my wife seized my hand and shook her head. The theatre was so quiet, its occupants so immersed in the Abbott family’s attempts to keep quiet, that my hand reaching into that bag would have sounded like a jet taking off. That tension and absorption in the characters’ plight dominated the remainder of the film, written and directed by lead actor John Krasinski.

The Beauty by Aliya Whiteley | review by Stephen Theaker

The Beauty (Unsung Stories) is a story told by Nathan. Telling stories has been his job ever since the women and girls first began to fall sick and he stood up at the commune’s campfire and retold the story of a famous boy wizard to keep away the silence of the night. It has now been six years since the last women in the valley died, all of them victims of an aggressive fungal infection. The future is bleak, but he tells the surviving men and teenage boys tales of the past, doing his best to keep the women alive, in their thoughts at least. For sex and love the younger men make do with each other. That brings comfort, but there’s no future in it for the species, and no hope, even for a community that was self-sufficient before the disaster.

Annihilation | review by Rafe McGregor

From New Weird novel to small-screen-feel alien movie.

The term ‘New Weird’ became popular in the first few years of this century, but has not been universally accepted. Nor is it clear whether New Weird denotes a new genre, related to but distinct from the (Old) Weird, or simply the way in which new authors have breathed fresh life into the old genre. S.T. Joshi, the critical authority on the Weird, has little time for the term and refers to the ‘modern weird tale’ instead (publishing a book with that title in 2001). Joshi defines the Weird as a retrospective category of speculative fiction, published from 1880 to 1940, that is essentially philosophical in virtue of representing a fully-fledged and fleshed-out world view. He regards H.P. Lovecraft as the exemplar of the genre, which includes Arthur Machen, Edward Plunkett (Lord Dunsany), Algernon Blackwood, Ambrose Bierce and M.R. James. He also sees the tradition as having been continued through to the present by the likes of Robert Aickman, Shirley Jackson, Ramsey Campbell, T.E.D. Klein, Thomas Ligotti and Caitlín R. Kiernan. The New Weird was initially associated with China Miéville in the UK and subsequently Jeff VanderMeer in the US. Miéville’s first novel was King Rat, in 1998, and he began his Bas-Lag series with Perdido Street Station in 2000. VanderMeer was best known for his short stories and as an editor and anthologist, editing two definitive collections – The New Weird and Steampunk – with his wife Ann in 2008. He joined Miéville as the co-exemplar of the New Weird in 2014, when all three parts of the Southern Reach Trilogy were published: Annihilation, Authority and Acceptance.

Hard Sun | review by Rafe McGregor

Policing the End of the World.

Hard Sun is written by Neil Cross, who is best known for his creation of Luther, the gritty British detective series that was first released in 2010 and is currently scheduled for a fifth season. (I should perhaps point out to readers outside the UK that many British series are in fact mini-series and the longest season of Luther was six episodes.) Cross’s television work includes episodes of Spooks and Dr Who, as well as the adaptation of the M.R. James short story, “‘Oh, Whistle, and I'll Come to You, My Lad’”, first published in 1904 and screened as Whistle and I’ll Come to You in the BBC’s A Ghost Story for Christmas series in 2010. He has also written for film and had one of his novels – Mr In-Between (1998) – released as a film in 2001. This film was both Paul Sarossy’s directorial debut and directorial swansong, but was in my opinion highly underrated (along with the novel) and was what first drew Cross to my attention. I mention Mr In-Between because it provided a clear but complex exploration of existential themes – abandonment, angst, authenticity, alienation, and absurdity – which return to take centre stage in Hard Sun.

Annihilation | review by Douglas J. Ogurek

Fantasy/eco-horror film revels in uncertainty.

When Annihilation ended, the fellow next to me said, “I’m gonna need the CliffsNotes on this one.” I, too, was a bit confused by the film (directed by Alex Garland) and its message. However, further contemplation revealed that being comfortable with a lack of answers may just be the mindset the film advocates.

Black Panther | review by Rafe McGregor

Coogler’s third strike is as complex and compelling as his first two.

I was worried about watching this film – almost as much as Blade Runner 2049 (reviewed for TQF here) albeit for entirely different reasons.  I wanted to like Black Panther, but the odds seemed stacked against me. I wanted to like it because I admire Ryan Coogler for his artistic genius and for the way in which he has extended both black consciousness and consciousness of anti-black racism in his previous two films, Fruitvale Station (2013) and Creed (2015).  Merely releasing a film with the title Black Panther, which recalls the Black Panther Party for Self-Defense of the 1960s and 1970s, in the era of Black Lives Matter, heightened racial tensions in the US, and Trump’s New Nationalism constitutes a political statement in itself.  The Alt-Right countered with attempts to sabotage the success of the film via social media, but their efforts proved spectacularly unsuccessful when Black Panther broke several opening weekend box office records.  I felt this took a little of the pressure off me because regardless of what I write now the film is already a commercial and critical achievement by Coogler.  Why did I think the odds were stacked against me?  Despite many attempts, I just can't get to grips with superheroes as protagonists, with superhero narratives, or with the superhero aesthetic in general. I can’t even manage a second viewing of The Dark Knight Trilogy, which is by one of my favourite directors. Black Panther is a Marvel Comics character, created by Stan Lee and Jack Kirby in 1966 (coincidentally, the same year in which the  Black Panther Party was founded), and Black Panther is the eighteenth film set in the Marvel Cinematic Universe.  The film is also the second of three in which Black Panther appears, after Captain America: Civil War (2016), and before Avengers: Infinity War, due later this year.