One More From Perfectly Acceptable Press : Pablo Delcielo And Shihab Alen’s “Anarchy In The Kingdom Of Heaven”


Ryan C. (fourcolorapocalypse)'s avatarRyan C.'s Four Color Apocalypse

While Chilean cartoonist Pablo Delcielo and his writing partner Shihab Alen (a nom de plume, apparently, for one Raimundo Gunen) open their 2017 Perfectly Acceptable-published illustrated poetic essay Anarchy In The Kingdom Of Heaven with a reference to Philip K. Dick, in both tone and content their visionary (in the strictest sense of the term) project actually evokes the writings of spiritual anarchist authors ranging from Henry David Thoreau to Peter Lamborn Wilson/Hakim Bey, albeit with a distinctly, and entirely understandable, anti-imperialist streak ever-present in its suggestions and implications. It is, however, no less radical (again, in the strictest sense of that word) for that fact.

Heavily informed by the Latin American experience with colonialism both military and economic, this is a short-form thorough re-thinking of possible futures in the face and aftermath of Western exploitation, and as such is unafraid to call out the American empire as fascist…

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Cleaning Out The DVR: A Killer In My Home (dir by Farhad Mann)


When the lockdown was first announced down here in Texas, my initial reaction was, “Well, at least I can clean out my DVR now….”

Unfortunately, it didn’t really work out like that.  First off, I got caught up trying to work my way through my collection of DVDs and Blu-rays.  Then, I ended up getting distracted by my efforts to binge my way through The Sopranos, Oz, and Deadwood.  And suddenly, here we are!  It’s nearly June.  The lockdown is in the process of ending.  And I’ve barely made a dent on working my way through the 230 programs that I have on my DVR.

Earlier today, I decided to finally get to work by watching the Lifetime film, A Killer In My Home.  A Killer In My Home originally aired on the Lifetime Movie Network back in February.  I was on vacation at the time so my wonderful sister was nice enough to record it for me.  Watching it was an interesting experience, just because there weren’t any COVID-19-themed commercials.  Instead, there were a ton of commercials for Tom Steyer and Mike Bloomberg.  I mean, seriously — whenever you think about how bad 2020 may be right now, just remember that, even before everything shut down, we had to spend a month and a half dealing with the Tom and Mike charm offensive.

As for the film itself, it tells the story of Allison Wright (Bree Williamson) and her daughter, Hollie (Hannah Vandenbygaart).  Allison and Hollie appear to have the perfect life.  Not only do they live in a huge house but Hollie appears to have the perfect future ahead of her.  Soon, she’ll graduate high school, get a nice car, and go to a good college.  But then, Allison’s husband and Hollie’s father suffers a heart attack!  While he’s dying in the hospital, he’s visited by Jenna Fallon (Krista Bridges) and her withdrawn son, Joshua (Percy Hynes White).  When Allison demands to know why Jenna is visiting her dying husband, Jenna explains that she had an affair with Allison’s husband and Joshua was the result.  Apparently, Allison’s husband spent years visiting and financially supporting Jenna and Joshua.  Now that he’s dead, Jenna and Joshua have no one left to provide for them.

Now, if you were Allison, what would you do in this situation?

Would you say, “Tough shit, you whore.  Get out of here and take that bastard with you!”

Or

Would you say, “Why don’t you come live in our guest house?”

Now, to the film’s credit, Allison’s initial reaction is to tell Jenna and Joshua to go away.  However, a few weeks later, Allison has a change of heart and she allows Jenna and Joshua to move into the guest house.  Jenna and her son are supposed to stay away from the main house and out of Allison and Hollie’s lives.  Needless to say, things don’t work out like that.

Soon, strange things start to happen.  There’s a break-in at the house.  Despite her efforts to ignore him, Joshua still tries to talk his half-sister.  Jenna starts to throw biker-populated parties at the guest house.  Despite the fact that she claims to have no money, Jenna is able to buy her son an expensive jeep.  Allison comes to realize what we realized from the beginning: Jenna has sinister motives of her own!  The only question is whether or not Joshua shares those motives or if he’s just a pawn trapped in a game he didn’t intend to play.

A Killer In My Home is okay.  If I’m not as enthusiastic about it as I am about other Lifetime films, it’s because I never believed that Allison would 1) allow Jenna to stay in the guest house and 2) allow her to continue to stay in the guest house even after it became obvious that some seriously strange stuff was going on.  Allison lost my sympathy by doing that.  However, I did really like Krista Bridges’s performance as the unstable Jenna and I though Hannah Vandenbygaart gave a good and sympathetic performance as the daughter who is basically just sick of dealing with the adults in her life.  I could definitely relate.

Finally, the house was nice.  Lifetime movies always feature the nicest houses and A Killer In My Home featured one of the best!

Music Video of the Day: I Love Rock ‘N’ Roll, covered by Britney Spears (2001, dir by Chris Applebaum)


It’s Britney!

This video was filmed at the Inn, which is a bar in Long Island.  The video features Britney performing with her then-backing band.  It also features a speaker that appears to be on the verge of exploding and a motorcycle.  To be honest, if I was performing this song, I would probably want a motorcycle on stage with me too.  This is a song that just makes you want to ride a motorcycle.

(Seriously, I’ve always had like a major weakness for motorcycles.  It’s not so much that I like to ride them as much as I just like to lean up against them.)

I can remember that, when this cover was first released, a lot of people complained that it wasn’t as good as the previous versions and Britney also got a lot of criticism for saying that she had been inspired by Pat Benatar’s cover when the cover was actually performed by Joan Jett.  Myself, I like Britney’s cover.  It’s fun to dance too and Britney always seemed like she was happy when she was performing it.  So, the haters can just shut up as far as I’m concerned.

Free Britney!

Enjoy!

Two From Perfectly Acceptable Press : Hiller Goodspeed’s “Simple Things”


Ryan C. (fourcolorapocalypse)'s avatarRyan C.'s Four Color Apocalypse

Credit where it’s due : cartoonist Hiller Goodspeed’s 2018 Perfectly Acceptable release Simple Things makes perfectly clear what it is going in — from its title to its pared-down cover aesthetics, you know what you’re getting into with this one before you ever even open it up. Here’s the thing, though — as any seasoned reader of small press and self-published comics knows, there’s a whole lot out there that’s deceptive in its simplicity. Or, perhaps more accurately, complex in its simplicity.

John Porcellino is the first name that leaps to mind, of course, his legendary King-Cat Comix utilizing the most basic line art to communicate conceptual, emotional, and even physical depth with a wistful touch and wry sense of humor — but the distinguished Mr. Porcellino himself would be the fist to admit that there are those who preceded him on this particular path, the most notable probably being…

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Trapped (1989, directed by Fred Walton)


A man (Ben Loggins) leaves his home one day, thinks about how his life has recently gone wrong, and then goes to an unfinished office building where he kills not only the people who he considers responsible but also anyone else who gets in his way.  Trapped in the building with him and trying to survive through the night until the doors automatically unlock in the morning are the building’s manager, Mary Ann Marshall (Kathleen Quinlan), and a corporate spy who is only willing to say that May Ann should call him John Doe (Bruce Abbott).

Trapped was produced for and originally aired on the USA network and it went on to become a USA mainstay for most of the 90s.  It’s a surprisingly violent and gory for a made-for-TV film from 1989 and the nearly-empty office building is an appropriately creepy setting.  Director Fred Walton does a good job of creating and maintaining a sense of suspense and he’s helped by three excellent lead performances from Kathleen Quinlan, Bruce Abbott, and especially Ben Loggins.  Loggins is credited as simply being “The Killer” and the film keeps his motives murky.  If you pay attention, you can discover what has driven him over the edge but the film is smart enough to concentrate on the cat-and-mouse game that he plays with Quinlan and Abbott.  One thing that sets Trapped‘s Killer apart from other psycho move stalkers is that Trapped‘s Killer is ambidextrous, carrying a dagger in one hand and a baseball bat in the other, making him even more intimidating than the typical movie psycho.  Kathleen Quinlan, an underrated actress who is probably best-known for playing Tom Hanks’s wife in Apollo 13, is also a feisty and likable heroine.

Don’t let its origin as a made-for-TV film scare you off.  Trapped is a good and suspenseful thriller.

Two From Perfectly Acceptable Press : Brianna Rose Brooks’ “Oh My (Bri)”


Ryan C. (fourcolorapocalypse)'s avatarRyan C.'s Four Color Apocalypse

Sketchbooks always reveal something about an artist’s process — but Brianna Rose Brooks’ 2018 Perfectly Acceptable release, Oh My (Bri), goes a step further by revealing much of its author’s psyche. It’s an intimate glimpse at a remarkable talent — disarmingly intimate, in fact — but it’s also not necessarily for those who don’t appreciate a challenge when they’re “only” expecting to look at some amazing drawings.

Described by its publisher as dealing with “topics of intimacy, identity, and blackness” — truth in advertising, I assure you — it’s nevertheless a safe bet that readers will be at least occasionally taken aback by how far she goes in exploring these themes, visually and literally. And while the sketches and essay collected herein span a roughly three-year gamut, the cumulative effect of the work as a whole bears the conceptual weight of a liftetime having been spent not just…

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Artist Profile: Gino D’Achille (1935 — 2017)


Gino D’Achille was born in Rome and began his career as an artist when, at the age of 11, he personally presented a portrait he had done of Pope Pius XII to the pontiff himself.  D’Achille studied at Rome’s Liceo Artistico and then later worked as a commercial artist in Milan.  It was there that his work was first spotted by British talent scouts, who persuaded D’Achille to move to the UK and pursue his career as an illustrator in London.  It was while living in London that D’Achille’s science fiction-themed work was first discovered and truly appreciated.  D’Achille was especially known for the covers he did for a series of John Carter of Mars reprints but he actually worked in all genres and, in some circles, was even better known for illustrating David Kossoff’s Bible Stories.

Below is a sampling of Gino D’Achille’s work.

Music Video of the Day: The End of Everything by Noah Cyrus (2020, dir by John Boswell)


Don’t worry, everyone.  We’ve got another few trillion years to go before the universe ends.  We’ll all be dead by the time the sun goes supernova but hopefully, this site and all of my film reviews will still be here to provide future readers with some sort of solace before they’re vaporized into nothingness.

Enjoy!