Monthly Archives: April 2020
Music Video Of The Day: Untitled by EDEN (2020, dir by ????)
This video, much like the song it’s for, keep it simple. Sometimes, that’s a good idea.
Enjoy!
Cinemax Friday: Dangerous Indiscretion (1995, directed by Richard Kletter)
Jim Lomax (C. Thomas Howell) is an up-and-coming advertising executive who, one night, picks up the sultry Caroline Everett (Joan Severance) in a grocery store. What starts out as a one night stand between two attractive people who both buy their own groceries turns into a full-fledged affair with Caroline asking Jim, “Who are you?” after they sleep together and Jim struggling to define his own identity.
Unfortunately, Caroline is married to Roger Everett (Malcolm McDowell), a wealthy and ruthless businessmen who likes to quote the Art of War. Unlike Jim, Roger knows who he is and what he believes. He’s an evil businessman who enjoys destroying other people and who gets a kick out of fooling the world into thinking that he’s actually a compassionate philanthropist. When Roger finds out that Caroline has been cheating on him, he sets out to destroy both her and Jim. Because Roger is an arrogant bastard, he not only plots to ruin Jim’s life but he brags about it too. He tells Jim that he’s going to make his life unbearable and he also says tells him that there’s not a thing that he can do to stop him. It’s not as if Jim has ever read Suz Tzu and, largely due to the commercials that have been produced by Jim’s own firm, the public sees Roger as being a benevolent and sympathetic figure. Jim and Caroline will have to team up to figure out a way to reveal Roger for being the monster that he is.
The main problem with Dangerous Indiscretion is that it asks us to accept the idea that C. Thomas Howell could be an equal opponent to Malcolm McDowell. Howell was one of the better actors to regularly appear in straight-to-video and Skinemax films but he’s till no Malcolm McDowell. As played by McDowell, Roger comes across as someone who eats his enemies for breakfast while Jim is just a callow ad exec who looks like the star of The Outsiders. It’s Caligula vs. Soul Man and there’s not much debate about who would win that match-up in the real world. It’s unfortunate that McDowell, who played a variety of different characters at the beginning of his career, later got typecast in purely villainous roles but he’s still charismatic enough as Roger that you know there’s no way that Jim and Caroline could ever outsmart him. Whenever Jim and Caroline do pull one over him, it doesn’t feel right.
Fortunately, Dangerous Indiscretion is better directed than the average straight-to-video neo-noir and, even if they are outclassed by McDowell, both C. Thomas Howell and Joan Severance give good enough performances that you don’t get bored when they’re on-screen. (This was actually the second erotic thriller that Howell made with Severance and it’s a definite step-up from Payback.) As previously stated, McDowell’s the perfect villain. By the proud standards of late night 90s Cinemax, Dangerous Indiscretion is an entertaining film with a great bad guy.
Artwork of the Day: A Swell-Looking Girl (by James Avati)
Music Video of the Day: Carrie by Fakear, feat. Alex Metric (2020, dir by Clement Chasseray)
Enjoy!
Charles Atlas Died For Your Sins — Or At Least Your Angst : Lex Rocket’s “Mud Thief” Vol. 1
Ryan C.'s Four Color Apocalypse

Originally conceived of and published back in 2015 but only recently making the rounds through some of the better “alternative” distros now, cartoonist Lex Rocket’s sturdy, riso-printed (although the cover may be offset?) mini, Mud Thief Vol. 1, is at first glance an exercise in strict formalism, apportioned into three roughly equal-length segments — and while that’s not an inaccurate perception, it only scratches the surface. And if there’s one thing the erstwhile Mr. Rocket has crafted here, it’s a ‘zine of tremendous depth and complexity.
About the only thing I can think to compare it to is the early-days Chris Ware strip “I Guess” that ran in Volume 2, issue 3 of Art Spiegelman’s Raw, but even that head-to-head comes up short given that Ware was juxtaposing non-congruent, and trauma-based, text with deliberately-ironic superhero visuals, while Rocket is engaged in nothing so straightforward. Yeah, that’s right…
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His Name Was King (1971, directed by Giancarlo Romitelli)
During the dying days of the old west, John Marley (Richard Harrison) is the bounty hunter that they call King. When King is hired to bring in the Benson brothers, who are thought to the head of a smuggling ring, he kills one of the brothers. The gang takes revenge by tracking down and killing King’s brother and then raping his brother’s wife. Now, King is the one who wants revenge.
Fortunately, the Sheriff, Brian Foster (Klaus Kinski), is an old friend of King’s and seems to be willing to give him the freedom necessary to get his vengeance. What King doesn’t know is that Foster himself is the head of the smuggling ring and he has plans of his own.
His Name Was King is a short Spaghetti Western. The version that I saw, which was poorly dubbed into English, only had a running time of 75 minutes. Since most sources state that His Name Was King has a 90-minute running time, I can only assume that 15 minutes must have been edited out for the American release. This was often done when Spaghetti Westerns were released in the U.S. Unfortunately, it makes the plot to His Name Was King feel incoherent and I’m going to guess that the poor editing job is why Klaus Kinski was only in a few minutes of the version that I saw. It’s unfortunate because, with Richard Harrison sleepwalking through his role, Kinski’s sinister turn was the best thing in the film.
His Name Was King does have a wonderful score from Luis Bacalov but it’s otherwise, in its edited form at least, for Spaghetti Western completists only.
The Origins Of Alienation : Lance Ward’s “Flop Sweat” #1
Ryan C.'s Four Color Apocalypse

For his third release from Birdcage Bottom Books in under a year, Twin Cities cartoonist Lance Ward is once again going the autobio/memoir route, but taking more of a “long view” than he did with his tightly-focused graphic novel Blood And Drugs and it short companion/epilogue publication, The Truth Behind Blood And Drugs. Specifically, he’s going back to his childhood, beginning his ruminations at age 11 when he lived with his soon-to-splintered family in the soul-dead “exurb” of Forest Lake, Minnesota — a place that, trust me, anyone is lucky to make it out of in one piece, mentally speaking.
It’s debatable whether or not Ward managed to actually do that, of course, although he seems stable, amicable, and definitely on a creative “hot streak” in recent months, a fact for which we should all be grateful — but getting to “here” from “there” has been no easy task…
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Artwork of the Day: A World I Never Made (by James Avati)
Music Video of the Day: Shadow by Chromatics (2017, directed by Rene & Radka)
Needless to say, this video is meant to serve as a tribute to Blue Velvet, Twin Peaks, David Lynch, and Julee Cruise.
Enjoy!



