Ready or Not, Review by Case Wright (Dirs. Matt Bettinelli and Tyler Gillett)


R Or not.jpg

The will to survive is a strange thing. Why do some people give up their wallet or purse to a mugger freely and others snap and fight to the death? Back in the days when I could jog, I was in Central Park early on a Sunday and a mugger tried to take my little POS MP3 player.  I could’ve done the smart thing and given it up, but something just clicked and I started punching and punching.  His face was total shock and he wandered off.  He wasn’t threatening my life, but it didn’t matter if he were, I would’ve acted the same. And Yes, my 93 tracks ranging from Springsteen to Modest Mouse remain safe to this day.  Ready or Not tests whether Grace (Samara Weaving) has the will to survive and she didn’t even have an ipod to protect.

The people hunting people is almost a sub-genre, but this movie had style.  It’s got horrible and quasi-incompetent murderers, a tough but vulnerable heroine, and lots and lots of BLOOD!

Grace is set to marry into a family of rich asshats who treat her like garbage.  Well, except for Daniel (Adam Brody) the brother of Alex – the groom to be.  Daniel thinks she should leave because she’s too good for his worthless family.  Daniel has a point.  The aunt is a mean spirited jerk and all of the people who enter the family are pretty desperate in one way or the other, making them agreeable to participate in their lethal affairs.

Grace decides to marry Alex anyway even though the family’s shitty personalities are on full-display.  The honeymoon begins and Grace must choose a card because she is entering the family.  A creepy box has a playing card and determines which card; sometimes the game is Chess, Checkers, or Hide and Seek.  If Hide and Seek is chosen, the family will hunt the new entrant to the family and sacrifice him or her to Satan- In-Laws … Am I Right?!!!

Grace picks hide and seek and the game is a foot….dun dun dun! This kicks off a lot of suspense and humor as Grace fights her in-laws to the death.  Grace asks her new husband Daniel why he didn’t warn her that his family is a bunch psycho killers?  His response: You would’ve left me.  Daniel, you suck! We all hate you Daniel…A LOT!

The family hunts Grace all over the estate and she gets hurt and screams….and Screams…AND SCREAMS! Samara Weaving’s screams are THE BEST EVER.  They are a mixture of gutteral staccato and high pitched terror and they are legit real.  All other scream queens before her must hail the new Queen.   Here is an example of Samara’s amazing scream queen skills:

RIGHT?!!!! She’s is legit awesome – a throwback and beyond to the glory days of horror. She’s a mix of vulnerable and badass, cunning and funny, basically she rocks this entire movie! Everyone should go see this movie tonight!

Yes, this review is a little brief, but I don’t want to spoil too much.  Enjoy!

 

I Like “I Like Totally Know What You Did Last Summer”


Ryan C.'s Four Color Apocalypse

Don’t look now, but it appears as though we’ve got a new “Seattle Dream Team” in the small press scene, as luminaries (in my book, at any rate) Sarah Romano Diehl and Brandon Lehmann step outside both their respective wheelhouses for the new collaborative effort, I Like Totally Know What You Did Last Summer, just released under Lehmann’s own Bad Publisher Books imprint. And while it’s entirely what you’d expect given its title, it’s nothing like you’d expect given the respective CV’s of each of the cartoonists involved.

Points, then, for truth in advertising and being something rather distinctive and new, then.

Survivors of the post-Scream “teen slasher” revival of the 1990s will have the premise for this one sussed, no doubt : a group of friends (five, to be specific) are desperate to cover up their involvement in a hit-and-run that left an innocent party dead, and…

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This Mini Has “No Title” — Should This Review?


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The comics and ‘zines of Jason T. Miles (generally self-published under his G.O.A.T. Comics imprint) uniformly confuse, confound, and challenge me, but even by his standards, his semi-recent (last year? I dunno) B&W mini, titled — nothing, I guess, but listed on his site as No Title — is a quixotic and mercurial beast, its aims and intentions as impossible to pin down as the nature of its threadbare “narrative,” a true case of what’s happening being as fluid and open to any interpretation as why it’s happening.

I will say this much, though — the “people” in it sure do say “fuck” a lot.

Which, I mean, isn’t a knock at all — I do the same myself.  To the point where it even works my own nerves. It’s kinda cute — for lack of a better word immediately coming to mind — in this comic, though, not that…

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International Weirdness : “Sniper Corpse” (A.K.A. “Corpse Sniper”)


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Coming our way from the UK in 2018 and “boasting” a production budget of 30,000 pounds, writer/director Keith R. Robinson’s Sniper Corpse (now available for streaming on Amazon Prime under the closely-related title of Corpse Sniper — I honestly couldn’t tell you if it’s seen a Blu-ray or DVD release) has precisely one chance to make it : put succinctly, it absolutely needs to punch above its weight class.

Certainly, for a flick with no money it attempts to tell a pretty ambitious story : recently-widowed Diane Keely (played with something very much akin to actual professionalism by Eleri Jones — keep your eye out for her in future), whose husband was killed in action, goes searching for his purportedly “missing” remains  — and some answers — all the way into the heart of darkness, that “darkness” being embodied by one Dr. Craybrick (Tony Eccles, who delivers a solid performance…

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Weekly Reading Round-Up : 08/11/2019 – 08/17/2019, Recent First Issues


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My reading pile is a bit all over the map these days — some stuff from the current week, some stuff from previous weeks, and some back issues are all vying for my attention (whatever that’s worth). As things shook out, I ended up reading four new “number ones” the other day, and since we talk about “number ones” a hell of a lot in this column and I’m writing it at 5:30 A.M. and have precisely no mental energy to come up with a different theme, we’re gonna stick with what we know —

Batman : Curse Of The White Knight #1 is the start of what I believe to be a six-parter that sees Sean Murphy return to his “alternate universe” Gotham for another go-’round between Batman, a once-again-evil Joker and, I guess, Azrael, this time under the auspices of DC’s purportedly “prestigious” Black Label imprint. Murphy’s art…

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“Tat Rat” #8 Is All That


Ryan C.'s Four Color Apocalypse

Whatever happened to the real underground, man?

You know the one — it specialized in lurid, obsessively-detailed depictions of squalor, depravity, perversion, and societal collapse. It not only embraced decay, it reveled in it. And it was definitely more than a little bit dangerous — back when it was around.

But perhaps rumors of its demise have been exaggerated. Yeah, you’ve gotta look harder  to find it now that high-brow art comics have swallowed up all the territory that falls outside the mainstream, but a small number of die-hard cartoonists either didn’t get the memo, or tore it up and threw it in the trash where it fucking well belongs.

Which brings us to the Forsley brothers, Cameron and Christopher, and the eighth and most recent issue of their irregularly self-published series. Tat Rat.

Everything about this comic is just plain intense — hyper-detailed woodcut style illustrations, rich inky…

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Several Miles Beneath The Underground : Max Clotfelter’s “Andros” #8


Ryan C.'s Four Color Apocalypse

The welcome news that Max Clotfleter, the enfant terrible of the Seattle cartooning scene, will finally be seeing the first comprehensive collection of his comics coming out later this year — courtesy of Birdcage Bottom Books and bearing the title Rooftop Stew (the cover of which is pictured near the bottom of this review) —shouldn’t obscure the fact that he’s been been cobbling together much of his work from parts various and sundry for several years now in the pages of his self-published series Andros, the eighth and most recent issue of which is probably as fine an example of “Clotfelter in microcosm” as you’re likely to find. Assuming, of course, that finding such a thing would be of interest to you.

And hey, who are we kidding? It certainly should be. There’s no doubt that much of Clotfelter’s sensibility emerges from the “confessional/autobio” tradition — see, for example…

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