My reading selection of books released this past Wednesday offers no real thematic connection to stitch together — no preponderance of first issues, no mix of firsts and lasts, nothing like that — so we’re just gonna get totally random with this week’s “capsule review” selections, and the verdicts for each are, likewise, all over the map —
Forcing a “milestone” label onto a book that’s been around for, like, less than two years seems a bit of a reach, but Marvel is no doubt eager to capitalize on the runaway critical and commercial success of The Immortal Hulk, and so #25 has indeed been marketed as some sort of “landmark” issue, and saddled with the extra pages and $5.99 price tag that comes part and parcel with such a purported “occasion.” Fortunately, cash-grabs don’t come much better than this stand-alone “cosmic” story that bears distinct echoes to Alan…
I’ve been meaning to get some more Manga into the mix on this site, and fortunately for me (and, by extension, you) Black Hook Press is more than happy to accommodate by means of their very solid critical outreach efforts — to say nothing of the consistently-noteworthy physical packages they put together for their expertly-curated releases.
Take, for instance, their latest — a long-overdue (for Western audiences, at any rate) collection of the early-to-mid 1970s autobio strips by pioneering master of the form Shinichi Abe entitled That Miyoko Asagaya Feeling, edited and assembled by Mitsuhiro Asakawa (who also provides a superb biographical essay) and translated by all-around Manga renaissance man Ryan Holmberg, whose association with any project marks it as being worth a purchase. The material presented herein has largely flown beneath the North American radar, but as far as making up for lost time goes, something tells me…
Annie Koyama’s “farewell tour” wouldn’t be complete without one more release from Michael DeForge before Koyama press closes up shop, and while his latest, Stunt, may not qualify as a “book” so much as a stretched-out (in terms of its page count and physical dimensions) Chick tract, it’s certainly as thematically and conceptually dense as any of this one-time-ingenue cartoonist’s previous works, and further reinforces the almost giddily-obsessive nature of the psychosexual and physical terrors that are congealing and coagulating into something very much like a core “portfolio” of concerns at the heart of his overall artistic project.
Roll call : duality, the amorphous nature of identity, bondage and submission (both mental and physical), Cronenbergian body horror, fame and celebrity, overwhelming sexual need, personal apocalypse, and fluidity as the only constant.
Among other things, of course, but those are the big ones.
On tonight’s episode of Suspense, Elaine Court (Felicia Montealegre) just wants to relax. In fact, considering that she’s recovering from a recent heart attack, it’s actually very important that she be allowed to just relax. Too bad there’s a strange man (Stanley Ridges) who keeps mysteriously appearing! One day, when Elaine returns from a trip out, she finds the stranger waiting in her home….
This episode originally aired on December 26th, 1950. Seriously, the day after Christmas!
Over the course of the past few years, I’ve been of a mind that Simon Hanselmann should dump Megg, Mogg, Owl, and the rest of the gang and do something different. Move forward. Push himself to expand his horizons by letting go of the familiar.
On a purely technical level, he’s definitely been honing his craft — his cartooning has become more precise and refined, while his painting has graduated from the “impressive” to the “magnificently rich and detailed” — but in a larger sense, I felt that he’d been every bit as stuck as his ensemble cast, all this aesthetically-proficient work wasted on dead-end narratives about characters who, by design, were never going to amount to shit. Sure, Megahex was masochistic fun, but Megg And Mogg In Amsterdam was largely more of the same, only in Amsterdam, while One More Year was, well, one more year. I get that…
Halloween is approaching! We should not forget to discuss the fear of failure, which this episode did not have a problem doing. Wow, I’ve reviewed some hot garbage, but this was the mathematical derivative of garbage because it was the rate of change from boring to embarrassing. The only bright spot was veteran Bruce Davison’s performance that was wasted on such hackneyed craptastic material. Sad.
The first story was about a Monkey’s Paw. Yep, Nicotero decided to do a monkey’s paw story….on purpose. It follows the typical trope: Get a Paw, make three wishes, and they all suck somehow, but this time with mediocre zombie makeup. Honestly, it looked like Party City was missing some 2 dollar makeup. We should all feel sad for the time that I shall never get back.
The second story was auditioning for the Walking Dead radio show because half of the rushed hot mess was exposition. A mayor and cronies go bad during a zombie apocalypse and town executes them. This story also had some second tier Walking Dead zombies and David Arquette who basically did agonized facial expressions whenever he was on camera. I used to really like David’s acting, but now he just looks like he’s tired and needs to angry poo real real bad. Maybe, David decided to get some gas station sushi, wash it down with past questionable milk, and go to set? That’s what his acting told me.
This show has potential for actual greatness, but man, if Nicotero doesn’t do some quality control, it’ll just be another schlocky horror series like Two Sentence Horror.
Released in 1993 as a part of the 90s Skinemax explosion, Scorned was one of the best of the many films to co-star Andrew and Shannon Tweed. The story of a vengeful widow (Tweed) hellbent on destroying Stevens’s family proved to be so popular that it was inevitable that there would be a sequel. Four years later, the mayhem continued in Scorned 2.
Tane McClure takes over Shannon Tweed’s role as Amanda, who has amnesia and can’t remember anything about her previous life as a sex-addicted sociopath. Amanda is now married to psychology professor Mark Foley (Myles O’Brien) but she’s haunted by nightmares (which are made up of scenes lifted from the first Scorned) that provide clues to her former life. While Amanda seeks help from a hypnotherapist, her frustrated husband ends up falling for one of his students, Cynthia (Wendy Schumacher). Cynthia already has a boyfriend but she’s willing to screw a professor if it will help her grades. When Amanda discovers that Mark is cheating on her, she snaps and reverts back to her old ways as she seeks revenge on everyone who she feels has betrayed her. Further complicating things is that Alex Weston (Andrew Stevens, reprising his role from the first Scorned) has recently arrived on campus and is seeking revenge for the death of his son.
Scorned 2 was made during the dwindling days of Skinemax, long after the heyday of late night cable’s popularity. It even featured a scene in which Cynthia’s boyfriend explains how computer passwords work, which is not something that anyone had to worry about when the first Scorned or its many imitators were initially released. Unfortunately, Shannon Tweed did not reprise her role as Amanda. Tane McClure was not a bad actress and bore a superficial similarity to Tweed but she just didn’t have Tweed’s ability to make even the stupidest dialogue sound natural. Andrew Stevens did return but his character is largely wasted. The real star of the film is Wendy Schumacher, for giving a credible performance while showing how far one student will go to keep up her grades. Considering the cost of college, can you blame her? Today, as with many of the films of that era, the main appeal of Scorned 2 is one of nostalgia.