Forgive me in advance for broaching the subject, but — is there anything you’re going to miss about the pandemic when it’s over? Go on, act as incensed at the question as you wish, but I’ll bet you it’s something you’ve asked yourself at least once, even if you felt guilty that it even so much as entered your mind. Come on, be honest here : less traffic, quiet neighborhood streets at night, no waiting for tables at restaurants, being able to work from home — all of these things are, well, kinda nice. Not to say that they’re worth hundreds of thousands dead, millions more infected, and probably very nearly the same number of people out of work either temporarily or permanently — just saying, these are things that are not bad, in and of themselves, even if we arrived at them via the most fucked-up means possible…
Look, we all know dating is hell, but what’s dating like in hell? And who better to let us know than Hyena Hell?
As it turns out, things aren’t easy for a single demon on the prowl, so for our frustrated protagonist in No Romance In Hell, published at the tail end of 2019 (I know, I know — I’m a little late to the party) by Silver Sprocket Bicycle Club, the only place to go is up — as in to Earth. But is that really a step in the right direction? And do you really need me to answer that question? Shake your head “no” to both and we’ll move along —
If you’re familiar with the work of Ms. Hell, you know what to expect here in a general sense : audacious humor, lots of attitude, a decidedly punk sensibility, feminist themes, and no fucks given…
Maybe it’s not fair to review Post-Apocalypto as a comic alone, since this latest effort from Jack Black and Kyle Gass in their Tenacious D roles is actually a multi-media event of sorts, encompassing a six-episode animated You Tube series, an audiobook, a musical album. and the hardback graphic novel published by Fantagraphics that’s under our metaphorical microscope here, but hey — I don’t want to be at this all night, and since comics is what we do here, we’re gonna keep it to that. Which pleases me to no end.
Even still, before any fans of Black, Gass, or their ostensible “band” jump down my throat, understand this : it’s not that I actively disliked this in and of itself so much as I have no patience for “edgelord” crap in a more general sense. There’s certainly a place in this world for such things, and there’s a strong…
You can’t keep a good cartoonist down, and Alex Nall is considerably more than that, so when we all went into “lockdown mode” he continued releasing his ongoing Kids With Guns series online, with the most flexible payment terms I believe anyone’s every offered : if you read it and liked it, he just asked you to pay whatever you could afford for it. Now that we’re pretending the pandemic is over, though, the siren call of self-publishing has once again called out to him, and actual, physical copies of issues three and four are finally available — and it’s now incumbent upon me to tell you why you should buy them.
I’ve already reviewed the first two installments of this quiet, human-scale epic, but for those unfamiliar with the particulars, the most basic distillation I can offer is that what we’ve ostensibly got here is the story of an…
Featuring a large ensemble cast of characters who rotate in and out and back again (including former president William Howard Taft), a deadpan sense of humor, and a series of set-ups that are clearly well planned but in no way feel belabored, it’s easy to be impressed by Miles MacDiarmid’s densely-packed Exit for its scope, audacity, and ingenuity, no question — but you’ll have to pardon me if all that, at least in this critic’s view, don’t mean shit if the art’s no good. And the art may just be the most striking feature of this comic.
I’ve come to expect no less from the Freak Comics publishing collective, who released this in late 2019, but even by the this outfit’s high standards, this is a really good-looking ‘zine. Starting with a cover that knocks you out with the sheer intricacy of its cross-hatched detail (I mean, it practically looks…
Flipping to the other metaphorical side of the equally metaphorical coin we again metaphorically tossed into the air with our last review here, we land (last metaphor, I promise) on Brian Canini’s Two More Stories (published, as ever, under his own Drunkent Cat Comics imprint) — and if Three Stories represented everything that’s wrong with his career-spanning “throw some ideas at the wall and see which of ’em sticks” approach to cartooning, this superb mini represents everything that’s right with just following your muse wherever it leads you, come hell or high water. It’s an inherently high-risk/high-reward way of making comics, and this one falls squarely into the “reward” column.
Canini’s titular two stories function as both mirror images to, and thematic extensions of, one another, with the first, “Empty Rivers,” telling the tale of a “prodigal son” type who returns home for his mother’s funeral and is then forced…
Here at Four Color Apocalypse HQ (it sounds more impressive than it is, trust me — and it doesn’t even sound impressive), we’re always happy to get the latest from Columbus-based cartoonist Brian Canini. He’s one of the more versatile talents around these days, and someone who’s not afraid to try his hand on a little bit of everything, from gag strips to autobio to long-form crime stories to funny animals to science fiction — and everything in between. Lately, he’s been delving into the venerable single-creator anthology format with a series of minis, and while the results have been a mixed bag, there’s no harm in that — anthologies almost always are, and I’d rather see a cartoonist push themselves out of their comfort zones a bit and not be afraid to fail rather than going the safe and easy “give the fans what they want” route. Canini has…
Dylan O’Brien is one of those actors that I’ll run to watch anything they’re in. I did so for 2017’s American Assassin, and have been making my way through MTV’s Teen Wolf. The guy oozes charisma, so when I found out his latest film, Love and Monsters, was available both in theatres and on Demand, I scooped it up without blinking. It’s kind of ironic that both he and his Teen Wolf co star, Tyler Posey, both have films this month (Posey is in Alone, also on demand) where their characters are caught up in apocalyptic nightmares.
Love and Monsters is a lighthearted monster film about stepping out of one’s shell, making some mistakes and growing along the way. O’Brien carries the film with humor and action, along with help from the supporting cast. It’s still a monster story, but it’s one just about anyone but the youngest of viewers can watch (and even then, it should be okay).
Sometimes, you just have to come out of your shell, which really isn’t easy to do when the world is suddenly populated with giant creatures. Joel (Dylan O’Brien, American Assassin) loves Aimee (Jessica Henwick , Underwater), but they happen to be separated in underground colonies about 90 miles from each other. Everyone manages to survive in their own way, and going up to the surface is particularly dangerous when everything wants to eat you. Joel does the small work around the underground bunker he’s in – making Minestrone, cleaning up the place – because he can’t handle the monsters outside.. When Joel decides to make the trek to reach Aimee, he has to learn how to survive in a world where everything wants to eat you. Befriended by a dog, Joel meets some friends along the way. Love and Monsters is a near perfect fit for the post Quarantine world. It speaks of isolation, communication over distances, while still hitting some themes on taking some risks (calculated, when possible), and learning to trust one’s instincts.
Joel (Dylan O’Brien) and Boy (Hero the Dog) navigate the unknown in Love and Monsters.
The cast for Love and Monsters is so nice. In addition to O’Brien and Henwick, we have a pair of Marvel Alumni in Michael Rooker (Yondu in Guardians of the Galaxy), and Ariana Greenblatt (Little Gamora in Avengers: Infinity War) as Clyde and Minnow, respectively. They help to add to the comedy that O’Brien’s already offering.
I think what surprised me the most about Love and Monsters was the look of the monsters themselves. I was expecting something more along the lines of your typical Syfy channel movie fare. The CGI and monster effects in Love and Monsters are pretty good. I would have liked to have seen more monsters, but I really enjoyed it what was offered. Marco Beltrami and Marcus Trumpp also get some kudos for the soundtrack, having worked with Wes Craven and Guillermo Del Toro in the past. The theme for Love and Monsters has a pinch of Hellboy to it, and fits well to Joel and Boy’s (Hero the Dog) adventures.
If there are any problems with the film, I guess it would be that it moves a little faster than anticipated. That’s hardly a complaint. At about an hour and 50 minutes, it moves somewhat fast. Additionally, if anyone’s expecting a full fledged horror film, they might be a bit disappointed. It’s a comedy first, with monsters. As long as you’re not expecting serious horror, it’s great, but the film does have it’s moments of little jumpscares. There’s also the notion that if you’ve already watched How to Train Your Dragon or Zombieland, Love and Monsters might not feel entirely new. It does, however, manage to take what’s going in the world right now with social distancing and reference it without directly saying it has anything to do with it. I feel audiences might relate to Joel’s isolation from that aspect, and his journey based on any trial we’ve ever gone through in learning a new skill or stepping outside of our comfort zones.
Love and Monsters is a cute surprise of a film that might have you chuckling more than jumping around in your seat, but that’s okay. At least it’s entertaining. I really wouldn’t mind a sequel to this.
I remember going to the movies for Demon Knight. I loved Tales from the Crypt on HBO, and the idea of a movie was cool at the time. My sister and my best friend joined me for the showing. It was treat to watch. I left the cinema thinking of different tales that could come up using some of the elements in this story.
For those unfamiliar with Tales From the Crypt, the show aired on HBO during the late 1980s, and part of the 1990s. Based off of the old horror tales from EC Comics, each episode was a horror story. Unlike Tales From the Darkside, Monsters and Darkroom, Tales from the Crypt had the bonus of being on cable. This meant they were able to get away with more gore and nudity than their prime time counterparts. Perhaps that’s the only real disadvantage with the film. At least with Tales From the Darkside: The Movie, the story could push into darker elements with their restrictions lifted.
As with every episode of the show, Demon Knight is sandwiched between a scene with the Crypt Keeper (John Kassir) greeting the audience with some corny jokes and introducing the story. Frank Brayker (William Sadler – The Mist, Bill & Ted Face the Music) is on the run from The Collector (Billy Zane – Titanic). With his options dwindling and the strange seven-star pattern tattoo on his hand slowly forming a circle, Brayker makes his last stand at a motel with a group of individuals. In his possession is a key shaped vial that has the power to create wards. These wards hold back the army of demons that wish to reclaim the key and bring darkness across the land. Can Brayker make it through the night, while protecting the key and everyone around him? That’s pretty much the plot.
The Crypt Keeper is ready for his close up in Demon Knight.
Having previously worked as a Cinematographer for Spike Lee, Ernest Dickerson made the jump to directing with 1992’s Juice. Demon Knight was his follow up and for the most part, it’s good. The creature design is interesting, reminiscent of Top Cow’s comic book, The Darkness. The demons are thin and indeed strange to behold, but they mostly take a back seat to Billy Zane’s Collector, who tries to seduce everyone into turning against the rest of the group. Zane brings a lot of humor to the movie with his villain, as does Thomas Hayden Church (Sideways) playing that one guy you’d really like to slug in the mouth. CCH Pounder (Avatar), Jada Pinkett (Collateral), Brenda Bakke (L.A. Confidential), the legendary Dick Miller (Gremlins and just about everything Joe Dante did), and Charles Fleisher (Who Framed Roger Rabbit?) and Gary Farmer (Forever Knight) round it all out. It’s Sadler’s film to carry, however, and he does a great job here playing the hero.
From a sound/musical standpoint, Demon Knight boasts a interesting soundtrack, which I picked up around the time I first saw the film. Filter’s “Hey Man, Nice Shot” seemed like the only song featured in the film, but Ministry’s “Tonight We Murder”, Henry Rollins “Fall Guy” and Pantera’s “Cemetary Gates” are the standouts. The pacing of the film is pretty even, despite being a one shot. There’s not enough of a slowdown to feel bored. Demon Knight is just one regular Tales from the Crypt tale in a longer format. I would have preferred shorter pieces in this larger timespan, but that’s more a nitpick than anything.
Overall, Tales From the Crypt: Demon Knight is a fun film to visit around Halloween. Just make sure your doors and windows are locked (and sealed, if possible), when watching.
Happy Horrorthon fellow travelers. It’s been a awhile. I’ve been struggling with engineering classes and it’s been hard to set time aside for this essential part of my life. How does this relate to Dracula? Dracula at its core is an unrequited love story. It drips with sanguine hopes and failed dreams (pun intended). Really, we’ve all that relationship that we really wanted, but it was always doomed, doomed, doomed.
I got to enjoy this mini-series the best way possible: a live tweet with the TSL staff. Back to Dracula, this series was originally broadcast on the BBC. It took Dracula from the past to the present. I have read most of Bram Stoker’s Dracula. It’s kinda boring, which is why the first episode was uneven in terms of excitement because it held close to the book, which was b o r i n g. Part I established Dracula at home. As in the book, he wanted to see the World, meet new and interesting people in England, and eat them.
To whet his appetite and get waaaaay younger, he decided to feast on a lawyer- Jonathan Harker. This Dracula gets all the memories and knowledge from the people he feeds on, which begs the question: Why travel anywhere? Just hang out at a train station and snack on people. Come on, Drac! I did like how the first episode set up the Courtly Love Interest – Agatha Van Helsing; she’s a Nun with ice water in her veins.
Sister Agatha (Van Helsing) gets a visitor at her convent – Jonathan Harker. He looks dead…well undead. He even has a fly crawl across his eyeball without him noticing. Flies buzzing and crawling about eyeballs is a big theme in this mini-series; you just have to get used to it.
Jonathan describes meeting the Count under the presumption of a land holding trans… sorry I dozed off there. The book was a lot like that too. It would have exciting moments and then BAM… Back to the real estate transactions! As Jonathan stays at the Count’s castle, the Count gets younger and he gets older. His lifeforce is drained away. In fact, all of his memories get drained away as well to the Count after one feeding ah ah ah and then two feedings ah ah ah.. Jonathan appears to succumb to the Count and feel nothing, but his resignation is all an act. DUN DUN DUN!
Jonathan is searching for a way out of the castle and it works….kinda. I mean he ends up at a convent and we learn that he’s undead and under the power of Dracula. This is gleaned from Sister Agatha who relentlessly interrogates …well everyone. I wish she were my best friend. She attracts a lot of monsters, but nobody’s perfect.
Unfortunately, Dracula can sense Jonathan and he has pursued him to the convent. This is where Dracula meets the true love of his life Sister Agatha. She’s fearless, smart, and scientific; the opposite of everyone else whom Dracula encounters. Agatha is a force of reason like Dracula is a force of nature. He represents feudalism and magic, she enlightenment and technocratic future. She is what he aspires to be, but cannot. She hopes that in solving the mystery of Dracula she will understand the mystical and develop her elusive affinity with God.
Of course, by getting close to understand Dracula, Agatha inadvertently allows Dracula to enter the convent and eat everyone, including……her and he does it by wearing a dead man’s face. That was awesome! Gotta see it again!
Dylan O’Brien is one of those actors that I’ll run to watch anything they’re in. I did so for 2017’s American Assassin, and have been making my way through MTV’s Teen Wolf. The guy oozes charisma, so when I found out his latest film, Love and Monsters, was available both in theatres and on Demand, I scooped it up without blinking. It’s kind of ironic that both he and his Teen Wolf co star, Tyler Posey, both have films this month (Posey is in Alone, also on demand) where their characters are caught up in apocalyptic nightmares.
I remember going to the movies for Demon Knight. I loved Tales from the Crypt on HBO, and the idea of a movie was cool at the time. My sister and my best friend joined me for the showing. It was treat to watch. I left the cinema thinking of different tales that could come up using some of the elements in this story.
Through the Shattered Lens 