Many weird-world genre bending millennial epics have already dated badly, but not Richard Kelly’s sci-fi / horror / satirical mind-trip about a guy given a glimpse of time travel in another dimension. The wit hasn’t faded and the menace hasn’t cooled, and the cast seems hipper than ever: Jake Gyllenhaal, Jena Malone, Maggie Gyllenhaal, Mary McDonnell, Patrick Swayze, Noah Wyle, Drew Barrymore, Katharine Ross. Two versions, two formats, no waiting.
Donnie Darko
Blu-ray + DVD
Arrow Video USA
2001 / Color / 2:35 widescreen / 113, 133 min. / Street Date April 18, 2017 / ( 4-Disc Limited Edition) / Available from Arrow Video 49.95
Starring: Jake Gyllenhaal, Holmes Osborne, Maggie Gyllenhaal, Mary McDonnell, Patrick Swayze, Jena Malone, Noah Wyle, Drew Barrymore, Katharine Ross.
Cinematography: Steven Poster
Production Design: Alexander Hammond
Film Editors: Sam Bauer, Eric Strand
Original Music: Michael Andrews
Produced by Adam Fields, Nancy Juvonen, Sean McKittrick
Written and Directed by Richard Kelly
When high school kids get into creative writing...
Donnie Darko
Blu-ray + DVD
Arrow Video USA
2001 / Color / 2:35 widescreen / 113, 133 min. / Street Date April 18, 2017 / ( 4-Disc Limited Edition) / Available from Arrow Video 49.95
Starring: Jake Gyllenhaal, Holmes Osborne, Maggie Gyllenhaal, Mary McDonnell, Patrick Swayze, Jena Malone, Noah Wyle, Drew Barrymore, Katharine Ross.
Cinematography: Steven Poster
Production Design: Alexander Hammond
Film Editors: Sam Bauer, Eric Strand
Original Music: Michael Andrews
Produced by Adam Fields, Nancy Juvonen, Sean McKittrick
Written and Directed by Richard Kelly
When high school kids get into creative writing...
- 4/25/2017
- by Glenn Erickson
- Trailers from Hell
Simon Brew Apr 22, 2017
Peter Capaldi and Pearl Mackie head off to the future, in Frank Cottrell-Boyce’s Smile. Here’s our spoiler-packed review…
This episode contains spoilers. Our spoiler-free review is here.
See related Better Call Saul season 3 episode 2 review: Witness Better Call Saul season 3 episode 1 review: Mabel The subtle rise of good prequels
10.2 Smile
“You can’t reach the controls from the seats, what’s the point in that?”
My thoughts on Smile, the second episode of this year’s Doctor Who run - and the second-ever story to be written by Frank Cottrell-Boyce (previously behind series 8’s In The Forest Of The Night) - aren’t too far away from my thoughts on the series opener, The Pilot. That Pearl Mackie’s Bill is a breath of fresh air, that the interaction between her and Peter Capaldi’s Doctor feels different, and that the more relaxed pacing is...
Peter Capaldi and Pearl Mackie head off to the future, in Frank Cottrell-Boyce’s Smile. Here’s our spoiler-packed review…
This episode contains spoilers. Our spoiler-free review is here.
See related Better Call Saul season 3 episode 2 review: Witness Better Call Saul season 3 episode 1 review: Mabel The subtle rise of good prequels
10.2 Smile
“You can’t reach the controls from the seats, what’s the point in that?”
My thoughts on Smile, the second episode of this year’s Doctor Who run - and the second-ever story to be written by Frank Cottrell-Boyce (previously behind series 8’s In The Forest Of The Night) - aren’t too far away from my thoughts on the series opener, The Pilot. That Pearl Mackie’s Bill is a breath of fresh air, that the interaction between her and Peter Capaldi’s Doctor feels different, and that the more relaxed pacing is...
- 4/22/2017
- Den of Geek
April 18th looks to be another fun day of home entertainment releases for genre fans, as we have an excellent variety of films—both old and new—coming home to Blu-ray and DVD. M. Night Shyamalan’s psychological thriller Split makes its way to both formats on Tuesday courtesy of Universal Studios Home Entertainment, and Arrow Video is keeping busy with a trio of Blu-rays: The Night Evelyn Came Out of the Grave, The Red Queen Kills Seven Times, and their four-disc set celebrating Richard Kelly’s Donnie Darko.
Other notable releases for April 18th include Scream Factory’s stellar collector’s edition of Tales From the Hood, Contamination .7, The Handmaid’s Tale, and The Mephisto Waltz from Kino Lorber.
Donnie Darko: 4-Disc Limited Edition Set (Arrow Video, Blu-ray)
Fifteen years before Stranger Things, Richard Kelly set the template and the high-water mark with his debut feature, Donnie Darko.
Other notable releases for April 18th include Scream Factory’s stellar collector’s edition of Tales From the Hood, Contamination .7, The Handmaid’s Tale, and The Mephisto Waltz from Kino Lorber.
Donnie Darko: 4-Disc Limited Edition Set (Arrow Video, Blu-ray)
Fifteen years before Stranger Things, Richard Kelly set the template and the high-water mark with his debut feature, Donnie Darko.
- 4/18/2017
- by Heather Wixson
- DailyDead
It’s been two years since deadmau5 released his last album while(1<2), and fans have grown a bit weary in the interim waiting for his next full-length studio effort. The time has finally come though and Joel Zimmerman’s eighth LP, W:/2016Album has now arrived, bringing along eleven (previously heard) new tracks to satisfy our hunger for fresh mau5 material.
The new album’s release is a bit unorthodox, softened by the fact that Zimmerman himself made every track on the final cut available online at some point or another in the time leading up to its release. While these tastes of new music over the last year or so pointed towards one of the strongest deadmau5 albums yet, the finished product ranks as a satisfying entry that falls just short of its potential.
First up is the album’s lead single “4Ware,” a delay-drenched progressive house outing with sequenced arpeggios and drifting melodies.
The new album’s release is a bit unorthodox, softened by the fact that Zimmerman himself made every track on the final cut available online at some point or another in the time leading up to its release. While these tastes of new music over the last year or so pointed towards one of the strongest deadmau5 albums yet, the finished product ranks as a satisfying entry that falls just short of its potential.
First up is the album’s lead single “4Ware,” a delay-drenched progressive house outing with sequenced arpeggios and drifting melodies.
- 12/1/2016
- by Connor Jones
- We Got This Covered
Alec Bojalad Dec 5, 2016
Westworld and Battlestar Galactica share many similarities, beyond merely the search for robots in disguise...
Warning: contains spoilers for Westworld episodes 1 to 9, and the entirety of Battlestar Galactica.
See related Rillington Place episode 1 review: Ethel Samantha Morton interview: The Last Panthers Dark Angel episode 1 review Inside the homes of 5 movie serial killers
“Every story needs a beginning,” Anthony Hopkins' Robert Ford tells a newly “awoken” host (the show’s terminology for humanoid cyborgs) during the eighth episode of Westworld. “Your imagined suffering makes you life-like.”
“Life-like but not alive,” the host responds. “Pain only exists in the mind. What’s the difference between my pain and yours? Between you and me?”
“The answer always seemed obvious to me,” Ford answers. “There is no threshold that makes us greater than the sum of our parts - no inflection point at which we become fully alive. We can...
Westworld and Battlestar Galactica share many similarities, beyond merely the search for robots in disguise...
Warning: contains spoilers for Westworld episodes 1 to 9, and the entirety of Battlestar Galactica.
See related Rillington Place episode 1 review: Ethel Samantha Morton interview: The Last Panthers Dark Angel episode 1 review Inside the homes of 5 movie serial killers
“Every story needs a beginning,” Anthony Hopkins' Robert Ford tells a newly “awoken” host (the show’s terminology for humanoid cyborgs) during the eighth episode of Westworld. “Your imagined suffering makes you life-like.”
“Life-like but not alive,” the host responds. “Pain only exists in the mind. What’s the difference between my pain and yours? Between you and me?”
“The answer always seemed obvious to me,” Ford answers. “There is no threshold that makes us greater than the sum of our parts - no inflection point at which we become fully alive. We can...
- 11/23/2016
- Den of Geek
After teasing his upcoming studio album over the last several months, deadmau5 finally offered up some concrete details about W:/2016Album earlier in the week in the form of a tracklist. Mau5trap shared a video via social media that depicted eleven new track titles in the producer’s usually nonsensical style, cluing fans in as to what will appear on the forthcoming record. However, it quickly became apparent to fans that each song from the LP has previously been heard at some point.
Over the last year, deadmau5 has kept his legions of followers satisfied with his constant studio live streams as he slowly churned out material from W:/2016Album. Tracks like “Cat Thruster,” “Deus Ex Machina,” and “Imaginary Friends” have all made their rounds on the dance music blogosphere, and every other offering from the LP has at some point surfaced on YouTube.
We’re not sure that...
Over the last year, deadmau5 has kept his legions of followers satisfied with his constant studio live streams as he slowly churned out material from W:/2016Album. Tracks like “Cat Thruster,” “Deus Ex Machina,” and “Imaginary Friends” have all made their rounds on the dance music blogosphere, and every other offering from the LP has at some point surfaced on YouTube.
We’re not sure that...
- 11/13/2016
- by Connor Jones
- We Got This Covered
Didn't anybody ever tell Soso that assuming makes an ass out of "u" and me?
After seeing a little more into her past, you'd think she would have managed to pick that one up on her own, even if her mama never told her. Maybe her short lived break up with Poussey on Orange is the New Black Season 4 Episode 3 will hammer that lesson home.
While Soso tried to be her own hero, Taystee rocked her promotion, Red clashed with Judy King, and Caputo finally accepted that he's a company man now. Piper's attempts to be la jefa became more absurd, and more obviously a cover for her own insecurity.
Poussey and Soso are basically the best at the start of "(Don't) Say Anything," but it's really hard to disagree with Judy King's assessment of their relationship. Things did advance too quickly, probably for a number of reasons, not the...
After seeing a little more into her past, you'd think she would have managed to pick that one up on her own, even if her mama never told her. Maybe her short lived break up with Poussey on Orange is the New Black Season 4 Episode 3 will hammer that lesson home.
While Soso tried to be her own hero, Taystee rocked her promotion, Red clashed with Judy King, and Caputo finally accepted that he's a company man now. Piper's attempts to be la jefa became more absurd, and more obviously a cover for her own insecurity.
Poussey and Soso are basically the best at the start of "(Don't) Say Anything," but it's really hard to disagree with Judy King's assessment of their relationship. Things did advance too quickly, probably for a number of reasons, not the...
- 6/22/2016
- by Elizabeth Harlow
- TVfanatic
It’s a rough state of affairs when news of the Earth’s impending destruction isn’t the worst thing that happens to you in a given day, yet that’s where the members of You, Me and the Apocalypse‘s doomsday bunch are at the outset of NBC’s new comedy.
In a moment, we’ll want to know what you thought of the premiere of the series (which has already aired in the United Kingdom). But first, a brief recap:
The hour opens just as a giant asteroid is about to make impact with our planet in what...
In a moment, we’ll want to know what you thought of the premiere of the series (which has already aired in the United Kingdom). But first, a brief recap:
The hour opens just as a giant asteroid is about to make impact with our planet in what...
- 1/29/2016
- TVLine.com
Title: La felicità è un sistema complesso (Happiness is a complex system) Director: Gianni Zanasi Starring: Valerio Mastandrea, Giuseppe Battiston, Hadas Yaron, Paolo Briguglia, Teco Celio, Maurizio Donadoni, Filippo De Carli and Chiara Martini. Criticism on capitalism is at the core of Gianni Zanasi’s new flick: La felicità è un sistema complesso (Happiness is a complex system). Enrico Giusti (Valerio Mastrandrea) has a very peculiar job: he convinces irresponsible entrepreneurs to sell their companies, in order to make them competitive again through arguable mechanisms he is not fully aware of. But he will start to question what he does through a Deus ex machina: the arrival of Achrinoam, an Israeli [ Read More ]
The post La felicità è un sistema complesso (Happiness is a complex system) Movie Review appeared first on Shockya.com.
The post La felicità è un sistema complesso (Happiness is a complex system) Movie Review appeared first on Shockya.com.
- 11/29/2015
- by Chiara Spagnoli Gabardi
- ShockYa
In the world of comic books, sometimes ideas that at first seem really controversial or asinine turn out to be great ideas that push the series in exciting and new directions. Despite all the death threats that they received for it, giving Spider-Man the black symbiote suit was probably the second best idea that ever hit the Spider-Man franchise.[1] Likewise, having Cyclops embark on a psycho-sexual tryst with Emma Frost initially seemed like heresy, but that lone act refreshed the franchise for another five years.[2] Other times, ideas that seem crappy and stupid turn out to be just that. What makes matters worse is when a company like Marvel or DC tries to mine gold from that pile of shit without realizing they’re elbow deep in a pile of clichéd, unarticulated horseshit.
Some ideas are just bad from the get go, like Spider-Man sacrificing his marriage, or getting rid of Mr.
Some ideas are just bad from the get go, like Spider-Man sacrificing his marriage, or getting rid of Mr.
- 10/4/2015
- by Andrew Doscas
- SoundOnSight
Chicago – Real boldness, real truth, is hard to fine in teenage stories. The confusing and hormonal time is often trivialized, or used as a prop for unlikely situations. “Diary of a Teenage Girl” pulls no such punches, in a tale of a 15 year old girl having her first love affair – with a 35 year old man.
Rating: 3.5/5.0
The film is based on the graphic novel by Phoebe Gloeckner, and was adapted and directed by Marielle Heller. The woman-centric production is willing to go “all the way” with the depiction of the affair, which sets it apart from American attitudes in cinema towards sex. The title actress, Bel Powley, is able to handle all the feelings of the arrows shot toward her character, and communicates a combination of vulnerability and strength that makes her a real survivor. The ending was not in concert with the rest of the film – except for the...
Rating: 3.5/5.0
The film is based on the graphic novel by Phoebe Gloeckner, and was adapted and directed by Marielle Heller. The woman-centric production is willing to go “all the way” with the depiction of the affair, which sets it apart from American attitudes in cinema towards sex. The title actress, Bel Powley, is able to handle all the feelings of the arrows shot toward her character, and communicates a combination of vulnerability and strength that makes her a real survivor. The ending was not in concert with the rest of the film – except for the...
- 8/14/2015
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
"Jurassic World" doesn't just hate one group of people. It hates pretty much everything and everybody, an equal-opportunity hater. Here is a semi-complete list of things "Jurassic World" hates: Southerners Science Women with kids Women without kids Organized women Women who say no to the second date Working women Women who hate bugs Bugs Women who save the day Dads Divorce The Friendzone Children Babies Teenagers Teenagers' girlfriends The Military Pacifists Fashion Commercialization Small corporations Large corporations People on vacation The Leisure Class The 1% The working class British Assistants Pretty much all assistants Earnestness Petting zoos Trained animals Goatees Beards People who wear glasses People of color, since they can't seem to survive without a white person intervening Fat men Skinny men Fanboys Beta males Some alpha males Sisterhood Dinosaurs Lawyers Guns, maybe? Margaritaville Nature Political correctness ("You shouldn't say 'bitch.'") Air travel Boat travel Gyrosphere travel The Human Race...
- 6/16/2015
- by Katie Hasty
- Hitfix
Chicago – The title “Ex Machina” is a play on Deus ex machina, the stage/scenario term meaning god from the machine, or the basic happy ending. By cutting out the “Deus” in the phrase, the film is left with just the machine, and the humans.
Rating: 4.5/5.0
This is a weird meditation, part indictment of a the megalomaniac worship of technology, and a path towards what that ultimate tech – the creation of androids that look like human women – would feel like in the real world. Two men face off in this story, the strange Bill Gates-like creator of the androids and the nerdy technician plucked from obscurity to test the “waters” of the electronic beings. Sci-fi screenwriter Alex Garland (“28 Days Later…”) makes his directorial debut with an incendiary and ultimate touching allegory on interconnection, the blowback from playing God (or Dr. Frankenstein) and even the image of women’s bodies,...
Rating: 4.5/5.0
This is a weird meditation, part indictment of a the megalomaniac worship of technology, and a path towards what that ultimate tech – the creation of androids that look like human women – would feel like in the real world. Two men face off in this story, the strange Bill Gates-like creator of the androids and the nerdy technician plucked from obscurity to test the “waters” of the electronic beings. Sci-fi screenwriter Alex Garland (“28 Days Later…”) makes his directorial debut with an incendiary and ultimate touching allegory on interconnection, the blowback from playing God (or Dr. Frankenstein) and even the image of women’s bodies,...
- 4/20/2015
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Chicago – Who are we anyway, when as inventors of artificial intelligence, we can create a new wave of thought process? That is what writer – and now director – Alex Garland (“28 Days Later…,” “Sunshine”) has been grappling with his entire career. His directorial debut is the stunning and prescient “Ex Machina.”
The film relates a story of Artificial Intelligence and robot/androids, supposedly invented by a Bill Gates type of world conqueror, portrayed by Oscar Isaac. When he brings a low level worker to interact with his new robots – designed to look like beautiful young women – the implications of the brave new world become apparent. The film works on many interesting levels, including the very question of what being alive means.
Lead Actor Alicia Vikander Talks On-Set with Alex Garland for ‘Ex Machina’
Photo credit: A24
Alex Garland has been an influential novelist and screenwriter for over a decade within the Science Fiction and film industries,...
The film relates a story of Artificial Intelligence and robot/androids, supposedly invented by a Bill Gates type of world conqueror, portrayed by Oscar Isaac. When he brings a low level worker to interact with his new robots – designed to look like beautiful young women – the implications of the brave new world become apparent. The film works on many interesting levels, including the very question of what being alive means.
Lead Actor Alicia Vikander Talks On-Set with Alex Garland for ‘Ex Machina’
Photo credit: A24
Alex Garland has been an influential novelist and screenwriter for over a decade within the Science Fiction and film industries,...
- 4/16/2015
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Apparently nothing bonds two men together like motorcycles! Justin Theroux and Orlando Bloom were spotted visiting Deus Ex Machina's custom motorcycle shop in Venice, Calif., Saturday afternoon, and the A-listers shared some laughs and even a hug while checking out the selection. The 43-year-old The Leftovers actor and Pirates of the Caribbean star ultimately went their separate ways (on their own bikes) after getting in some bromance time. But apparently the two men weren't alone as Bloom, 38, was spotted with a mystery blonde who tried to sneak out of the shop. He has been spotted with her before, turning heads in Cancún, Mexico, over the holiday season. He was previously married to model Miranda...
- 2/2/2015
- E! Online
Exclusive: Oliver Stone and Audiard dramas, Mel Gibson action Blood Father and Ben Wheatley’s Free Fire among haul.
Middle East distributor Front Row Filmed Entertainment has finalized deals for 26 films from the Afm, including Oliver Stone’s Untitled Snowden Project starring Joseph Gordon-Levitt and Shailene Woodley, action-thriller Blood Father with Mel Gibson and Studio Ghibli’s When Marnie Was There, all from Wild Bunch.
Front Row continued to cement its long-standing relationships with the likes of Protagonist Pictures and HanWay Films, acquiring the former’s upcoming Ben Wheatley action film Free Fire, Rob Zombie’s 31, David Farr-directed horror The Ones Below and the untitled Joshua Marston drama with Rachel Weisz and Michael Shannon.
From HanWay, Front Row secured Thai Boxing action film A Prayer Before Dawn, set to star Charlie Hunnam, The Limehouse Golem, written by Jane Goldman and the Kinks’ biopic You Really Got Me, produced by Jeremy Thomas.
From Embankment...
Middle East distributor Front Row Filmed Entertainment has finalized deals for 26 films from the Afm, including Oliver Stone’s Untitled Snowden Project starring Joseph Gordon-Levitt and Shailene Woodley, action-thriller Blood Father with Mel Gibson and Studio Ghibli’s When Marnie Was There, all from Wild Bunch.
Front Row continued to cement its long-standing relationships with the likes of Protagonist Pictures and HanWay Films, acquiring the former’s upcoming Ben Wheatley action film Free Fire, Rob Zombie’s 31, David Farr-directed horror The Ones Below and the untitled Joshua Marston drama with Rachel Weisz and Michael Shannon.
From HanWay, Front Row secured Thai Boxing action film A Prayer Before Dawn, set to star Charlie Hunnam, The Limehouse Golem, written by Jane Goldman and the Kinks’ biopic You Really Got Me, produced by Jeremy Thomas.
From Embankment...
- 12/4/2014
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Doctor Who, Season 8, Episode 11, “Dark Water”
Season 8, Episode 12, “Death in Heaven”
Written by Steven Moffat
Directed by Rachel Talalay
Airs Saturdays at 9pm Et on BBC America
This week, on Doctor Who: Missy makes her intentions clear, Danny fixes his bad day, and Clara and the Doctor lie
Showrunner Steven Moffat has stayed away from two-parters for a while, but as is traditional for Doctor Who, a new Doctor means a fresh start for the show and it’s only fitting that the Twelfth Doctor get the same two-parter blowout end-of-first-series as his predecessors. After a season of teases, Missy is revealed as the latest regeneration of the Master (Missy being a shortening of the Mistress) and she’s come to Earth to turn the entire population of the planet, current and former, into a massive army for the Doctor, so they can be buddies in universal domination. As far as plans go,...
Season 8, Episode 12, “Death in Heaven”
Written by Steven Moffat
Directed by Rachel Talalay
Airs Saturdays at 9pm Et on BBC America
This week, on Doctor Who: Missy makes her intentions clear, Danny fixes his bad day, and Clara and the Doctor lie
Showrunner Steven Moffat has stayed away from two-parters for a while, but as is traditional for Doctor Who, a new Doctor means a fresh start for the show and it’s only fitting that the Twelfth Doctor get the same two-parter blowout end-of-first-series as his predecessors. After a season of teases, Missy is revealed as the latest regeneration of the Master (Missy being a shortening of the Mistress) and she’s come to Earth to turn the entire population of the planet, current and former, into a massive army for the Doctor, so they can be buddies in universal domination. As far as plans go,...
- 11/9/2014
- by Kate Kulzick
- SoundOnSight
The third season of every series is a pivotal point. Networks are anxious to see if the series will go into syndication, while fans are wondering if their honeymoon relationship with said series has run its course. Person of Interest’s third season surpassed its predecessors in many ways. We learned the truth about Harold, new enemies emerged and old enemies became unlikely allies. Season 3 was the proverbial pay off for being a loyal fan. And watching it in a marathon on blu-ray is a twenty-three hour treat.
At the end of season 2, we had several looming questions. What would become of Agent Carter’s unlikely alliance with Carl Elias? Now that Root had successfully made a connection to The Machine through its system reboot, how would that impact Harold and Reese’s mission? Will Hr be a serious problem through its new “partnership” with the Russians? And, just what...
At the end of season 2, we had several looming questions. What would become of Agent Carter’s unlikely alliance with Carl Elias? Now that Root had successfully made a connection to The Machine through its system reboot, how would that impact Harold and Reese’s mission? Will Hr be a serious problem through its new “partnership” with the Russians? And, just what...
- 9/15/2014
- by Bags Hooper
- BuzzFocus.com
M.o.o.n - that spells backlash! The ending of Stephen King's The Stand has always been seen as fairly controversial, because...well, it's a bit rubbish really! The author has always admitted that he finds it difficult to come up with satisfying resolutions for his stories, and nowhere is that more evident than his 900-page tale of good Vs. evil. Several of our surviving heroes are captured by the demonic Randall Flagg in his base of operations in Las Vegas, and are about to be executed when another evil character, the Trashcan Man, shows up with a nuke. Then -- giving a whole new meaning to the term Deus ex machina -- the literal hand of God comes down from heaven and detonates it, destroying the lot of'em. Well, we may (thankfully) be spared this -- although you might not feel this possible ending is any better!
- 9/4/2014
- ComicBookMovie.com
Damon Lindelof’s latest TV effort, The Leftovers on HBO (co-created by and adapted from the novel by Tom Perrotta) just hit the halfway mark through its first season on Sunday, and it’s easily the best new show to premiere this summer. This comes with two disclosures: 1. Summers are usually treated more like draughts than harvesting season for TV networks so 2. The competition is usually (and specifically this year) lackluster. For example, this year you have AMC’s disappointingly tone-deaf Halt and Catch Fire, while on FX you have Guillermo Del Toro’s The Strain struggling to decide if it’s good-bad or just bad-bad. Despite a lightweight competition, The Leftovers still holds its title of best new Summer show, a title that is earned despite the show winning it by default.
After each episode I look to recaps across the internet to further the discussion and interpretation of the show,...
After each episode I look to recaps across the internet to further the discussion and interpretation of the show,...
- 7/29/2014
- by Dylan Griffin
- SoundOnSight
Marvel Studios
Villains own the comic book movie genre. It is an undeniable fact that the quality of any given comic book movie lives or dies based on the quality of its villain. After all, what is a powerful hero without an equally powerful opponent to fight? Without a menacing and well developed antagonist, many of the best superhero films would be nothing but heroes fighting hordes of nameless henchmen for two hours. That isn’t a very interesting premise, is it?
But villains can’t be menacing all the time, especially when facing Superheroes who have other priorities (whether they are late for high school graduation, needing to diffuse a time bomb, or just tired of listening to generic “you will die” monologues) so often they find themselves undercut by these Superheroes in humiliating ways that border on comedic. This happens in every Superhero series, whether it be the...
Villains own the comic book movie genre. It is an undeniable fact that the quality of any given comic book movie lives or dies based on the quality of its villain. After all, what is a powerful hero without an equally powerful opponent to fight? Without a menacing and well developed antagonist, many of the best superhero films would be nothing but heroes fighting hordes of nameless henchmen for two hours. That isn’t a very interesting premise, is it?
But villains can’t be menacing all the time, especially when facing Superheroes who have other priorities (whether they are late for high school graduation, needing to diffuse a time bomb, or just tired of listening to generic “you will die” monologues) so often they find themselves undercut by these Superheroes in humiliating ways that border on comedic. This happens in every Superhero series, whether it be the...
- 6/18/2014
- by Robert Tiemstra
- Obsessed with Film
For the first time, Sony Pictures Imageworks, which is moving its headquarters from Culver City to Vancouver to stay competitive, embraced gritty, CG photorealism for Doug Liman's smart and trippy "Edge of Tomorrow." Truly "War of the Worlds" meets "Groundhog Day," with Tom Cruise caught in a nightmarish loop, the aliens he's up against were a strange, tough animation challenge for Imageworks. In fact, Liman discovered a video called "Resonance/Deus Ex Machina" (see below), which perfectly conveys the look he was after with this simple geometric cube that grows and evolves violently. "I think Doug was attracted to the power and unpredictability of the video, the fact that it didn't have a preservation of volume... and it just felt kind of terrifying," recalls Dan Kramer, the VFX supervisor from Imageworks ("Hotel Transylvania"). "He just wanted it to be really scary and thought, if that thing could just move in front of you,...
- 6/6/2014
- by Bill Desowitz
- Thompson on Hollywood
Mark looks back at the much-reviled Matrix sequels and asks: what went wrong?
Feature
This article contains spoilers for the Matrix trilogy.
It seem like a long time ago to some of our younger readers, but those who were there will remember that 2003 was branded “the year of the Matrix” by Warner Bros. Four years after the first film knocked everybody's socks off, Andy and Lana Wachowski made two sequels, an animated anthology, a video game and numerous other tie-ins to expand upon a world that was only hinted at in the original.
The Matrix Reloaded became the highest-grossing R-rated movie of all time when it was released in May and held that record until the following Easter's The Passion Of The Christ. A vitriolic critical reception and bad word of mouth undercut any chance that the final instalment, The Matrix Revolutions, had in terms of topping its predecessor when...
Feature
This article contains spoilers for the Matrix trilogy.
It seem like a long time ago to some of our younger readers, but those who were there will remember that 2003 was branded “the year of the Matrix” by Warner Bros. Four years after the first film knocked everybody's socks off, Andy and Lana Wachowski made two sequels, an animated anthology, a video game and numerous other tie-ins to expand upon a world that was only hinted at in the original.
The Matrix Reloaded became the highest-grossing R-rated movie of all time when it was released in May and held that record until the following Easter's The Passion Of The Christ. A vitriolic critical reception and bad word of mouth undercut any chance that the final instalment, The Matrix Revolutions, had in terms of topping its predecessor when...
- 5/29/2014
- by sarahd
- Den of Geek
A host of young talent is set to star in a new "quantum theory" thriller DxM announced at Cannes today.
The story follows a group of young bio-engineers who realize that quantum theory can be used to transfer motor skills from one brain to another. Believing this will lead to intellectual equality among humans, the group soon faces dark forces threatening to subvert the technology as an instrument for mass control.
Tom Payne (represented by Curtis Brown) leads the group as Jaxon, described as extremely intelligent and motivated, and the driving force behind the new technology. Tom also recently filmed the leads in The Physician and British indie feature Winter (aka Barking at Trees).
Melia Kreiling (represented in the UK by Piers Nimmo) plays Stella, a mystery to the rest of the group, a highly skilled bio engineer who specialises in everything. Part Greek and part American, Melia trained in...
The story follows a group of young bio-engineers who realize that quantum theory can be used to transfer motor skills from one brain to another. Believing this will lead to intellectual equality among humans, the group soon faces dark forces threatening to subvert the technology as an instrument for mass control.
Tom Payne (represented by Curtis Brown) leads the group as Jaxon, described as extremely intelligent and motivated, and the driving force behind the new technology. Tom also recently filmed the leads in The Physician and British indie feature Winter (aka Barking at Trees).
Melia Kreiling (represented in the UK by Piers Nimmo) plays Stella, a mystery to the rest of the group, a highly skilled bio engineer who specialises in everything. Part Greek and part American, Melia trained in...
- 5/15/2014
- by noreply@blogger.com (ScreenTerrier)
- ScreenTerrier
Before season finale season kicked into high gear, Entertainment Weekly reached out to some of your favorite shows for some unconventional teases. Check out the latest installment of our Season Finale Survey below:
Show name/My name, title:
Person of Interest/ Jonathan Nolan & Greg Plageman, EPs
Air Date:
5/13
Finale Title:
“Deus Ex Machina”
Number of deaths:
Um, lots. Like technically thousands.
One-word tease, presented in any language other than English:
As Root’s hacker lackey Daizo would say… sayonara
Song I jammed to while writing the episode:
“It’s Thunder and It’s Lightning” – We Were Promised Jetpacks
Synopsis in 140 characters or less (yes,...
Show name/My name, title:
Person of Interest/ Jonathan Nolan & Greg Plageman, EPs
Air Date:
5/13
Finale Title:
“Deus Ex Machina”
Number of deaths:
Um, lots. Like technically thousands.
One-word tease, presented in any language other than English:
As Root’s hacker lackey Daizo would say… sayonara
Song I jammed to while writing the episode:
“It’s Thunder and It’s Lightning” – We Were Promised Jetpacks
Synopsis in 140 characters or less (yes,...
- 5/13/2014
- by Sandra Gonzalez
- EW - Inside TV
When we last left the heroes of Person of Interest, they were having a pretty bad day. Finch had been kidnapped by several sets of people, Reese and Shaw had to refrain from killing Hersh, and Root was a general beacon of doom. This week's season 3 finale, "Deus Ex Machina," does not bring any improvement. Vigilance is putting the Us government on trial and livestreaming the whole thing all over the world. Because they believe in the law, they have also abducted a jury of the Us government's peers and a defense lawyer. I must have missed the kidnapping amendment in the Constitution.
- 5/13/2014
- by editor@buddytv.com
- buddytv.com
Last night,CBS served up the new promo/spoiler clip (below) for their upcoming "Person Of Interest" episode 23 of season 3, and it appears that things will get quite interesting and dramatic as lots of drama takes place over The Machine, it's creator steps forward with a confession, and more. The episode is titled, "Deus Ex Machina.” In the new, 23rd episode, The team is going to take desperate measures to halt the malevolent AI program ,Samaritan, from making it online and singling them out as its first targets. In the meantime, the months-long battle with the anti-surveillance terrorist group Vigilance, will at last, come to a startling conclusion. Guest stars are going to include: Diane Davis (Judge Madison), Ari Butler (Vigilance Tech), Peter Scanavino (Adams), Tom Coiner (Decima Tech), and Joel Perez (Mask). The episode was written by Greg Plageman and David Slack, and it was directed by Chris Fisher.
- 5/7/2014
- by Derek
- OnTheFlix
Recently,CBS released the new,official,synopsis/spoilers for their upcoming "Person Of Interest" season finale episode 23 of season 3. The episode is entitled, "Deus Ex Machina,” and it sounds like things will get quite intense and interesting as the crew races against time to stop a vicious AI program from going live online, and more! In the new, 23rd finale episode press release: Desperate actions are going to get taken and startling revelations will get uncovered as the battle to prevent the AI program ,Samaritan, from coming online, reaches its conclusion. Press release number 2: The team will take desperate actions in its race to prevent the malevolent AI program ,Samaritan, from coming online and making them its first targets. In the meantime, the months-long battle with the anti-surveillance terrorist group Vigilance is going to come to a shocking conclusion. Guest stars will feature: Diane Davis (Judge Madison), Ari Butler...
- 5/6/2014
- by Chris
- OnTheFlix
Read Part One here
Despite its numerous flaws and baggy structure, the first of The Matrix Sequels, Reloaded, ultimately proved to be the more successful and acclaimed, a state of affairs that sadly owes more to the whole new level of disappointed provided by the hugely promising conclusion to the trilogy, Revolutions. It is quite telling that despite the huge levels of hype generated by the impending arrival of the first sequel, the six months preceding the release of the final installment were oddly quiet, leading up to a release that was treated begrudgingly rather than with excitement, echoing the progressive weariness shown towards the disastrous Star Wars Prequels. Even before it saw the light of day, Revolutions was let down by being positioned atop the most diminutive of pedestals with little in the way of a set up.
That isn’t to say that Revolutions’ ill-fortune was entirely down...
Despite its numerous flaws and baggy structure, the first of The Matrix Sequels, Reloaded, ultimately proved to be the more successful and acclaimed, a state of affairs that sadly owes more to the whole new level of disappointed provided by the hugely promising conclusion to the trilogy, Revolutions. It is quite telling that despite the huge levels of hype generated by the impending arrival of the first sequel, the six months preceding the release of the final installment were oddly quiet, leading up to a release that was treated begrudgingly rather than with excitement, echoing the progressive weariness shown towards the disastrous Star Wars Prequels. Even before it saw the light of day, Revolutions was let down by being positioned atop the most diminutive of pedestals with little in the way of a set up.
That isn’t to say that Revolutions’ ill-fortune was entirely down...
- 4/27/2014
- by Scott Patterson
- SoundOnSight
Downton Abbey, Season 4, Episode 7
Directed by Edward Hall
Written by Julian Fellowes
Airs Sundays at 9 Pm on PBS
Many resolutions came to fruition in last night’s episode of Downton Abbey, and on the whole, most of them are some of the most delightful of the season. There were homecomings, leave-takings, an offscreen death of a minor and unscrupulous character. Schemes were hatched, clues dropped, engagements broken, and new relationships budded.
Now that Edith has decided to keep her baby, there’s the issue of what to do with the child. It’s hard to deny the practicality of Rosamund’s plan to take Edith abroad and let a foreign couple adopt her offspring, but Edith’s fierce desire to stay part of her child’s life provides just another reminder of the heavily weighted “lose” column on the imbalanced scorecard tracking her happiness. Luckily, Edith finds another ally in her grandmother,...
Directed by Edward Hall
Written by Julian Fellowes
Airs Sundays at 9 Pm on PBS
Many resolutions came to fruition in last night’s episode of Downton Abbey, and on the whole, most of them are some of the most delightful of the season. There were homecomings, leave-takings, an offscreen death of a minor and unscrupulous character. Schemes were hatched, clues dropped, engagements broken, and new relationships budded.
Now that Edith has decided to keep her baby, there’s the issue of what to do with the child. It’s hard to deny the practicality of Rosamund’s plan to take Edith abroad and let a foreign couple adopt her offspring, but Edith’s fierce desire to stay part of her child’s life provides just another reminder of the heavily weighted “lose” column on the imbalanced scorecard tracking her happiness. Luckily, Edith finds another ally in her grandmother,...
- 2/18/2014
- by Kenneth
- SoundOnSight
What to make of a time-spanning romance featuring Lucifer in a Jimi Hendrix t-shirt, a flying horse named Deus Ex Machina, and a woman killed by a too-warm penis? What indeed. Winter’s Tale opens in present day New York City and stays there for a full three minutes before jumping back to 1895 and a ship filled with hopeful immigrants. One couple is turned away, but desperate for their infant son’s future they lower him into the water and toss his fate to the waves. Quick cut to 21 years later, and Peter Lake (Colin Farrell) is a petty thief on the run. Yes. Colin Farrell plays a 21 year-old. He’s on the run from Pearly Soames (Russell Crowe), a demonic mob boss intent on killing Peter for some unknown slight, but before heading out of town Peter makes time for one last score at the home of newspaper editor Isaac Penn (William Hurt). What he doesn...
- 2/14/2014
- by Rob Hunter
- FilmSchoolRejects.com
Walt Disney avoided mixing religion and film, but the company is starting to embrace more Christian undertones
A Southern Baptist university professor in Texas is suggesting that Disney's animated feature Frozen, now doing well at the box office and just nominated for two Academy Awards, "might be the most Christian movie that I have seen this year". In fact, he says, it may be "a better allegory for the Christian gospel than Cs Lewis' The Lion, the Witch, and the Wardrobe" – borderline blasphemy for many believers.
Collin Garbarino, assistant professor of history at Houston Baptist University, acknowledges that if he were to press his point of view of the film, which is based on the Hans Christian Andersen fairy tale The Snow Queen, his faculty colleagues "might run me out of the university on a rail".
The reason his take on Frozen is potentially incendiary, and at least ironic, is...
A Southern Baptist university professor in Texas is suggesting that Disney's animated feature Frozen, now doing well at the box office and just nominated for two Academy Awards, "might be the most Christian movie that I have seen this year". In fact, he says, it may be "a better allegory for the Christian gospel than Cs Lewis' The Lion, the Witch, and the Wardrobe" – borderline blasphemy for many believers.
Collin Garbarino, assistant professor of history at Houston Baptist University, acknowledges that if he were to press his point of view of the film, which is based on the Hans Christian Andersen fairy tale The Snow Queen, his faculty colleagues "might run me out of the university on a rail".
The reason his take on Frozen is potentially incendiary, and at least ironic, is...
- 1/26/2014
- by Mark I Pinsky
- The Guardian - Film News
BBC
Disturbances in the Whoniverse come down to a handful of basic conflicts involving survival, greed, and lust for domination. Each of these must be foiled by some combination of the Doctor, his friends, and very often the bravery of someone we didn’t know at the top of the hour. Sometimes the solution comes down to our heroes being just a little bit cleverer. Other times, it is a last minute defection of a trusted minion. Still on other days, the only option left is a Deus Ex Machina-style universe restart.
But in nearly all cases, the Doctor’s victory requires a misstep of the Doctor’s opponent. Often, this miscalculation is forgiveable, but with more than two hundred documented schemes to win wars, breed, gather fuel, claim untold riches, or seize great power throughout the known Whoniverse, some are bound to be duds. While one can assume...
Disturbances in the Whoniverse come down to a handful of basic conflicts involving survival, greed, and lust for domination. Each of these must be foiled by some combination of the Doctor, his friends, and very often the bravery of someone we didn’t know at the top of the hour. Sometimes the solution comes down to our heroes being just a little bit cleverer. Other times, it is a last minute defection of a trusted minion. Still on other days, the only option left is a Deus Ex Machina-style universe restart.
But in nearly all cases, the Doctor’s victory requires a misstep of the Doctor’s opponent. Often, this miscalculation is forgiveable, but with more than two hundred documented schemes to win wars, breed, gather fuel, claim untold riches, or seize great power throughout the known Whoniverse, some are bound to be duds. While one can assume...
- 1/13/2014
- by Nicole Dawn Emrikson
- Obsessed with Film
Feature Rob Kemp 15 Nov 2013 - 07:00
With Almost Human arriving soon, Rob compares the merits of ten Jj Abrams-produced TV shows, from Lost, to Alias, Revolution, and more...
Warning: contains spoilers for Revolution, and Lost.
Most would agree, Jj Abrams has had a successful career which has gone from strength to strength. Undoubtedly, Star Wars now offers an opportunity for him to reach a creative zenith, but represents also his largest risk. His stylistic choices may not be to everyone’s tastes and he himself admits that there are elements over which he has an obsession (lens flares & secrecy) but these are still a matter of personal taste (I’m ambivalent over the former, and truly appreciate the latter). All that aside, outside his burgeoning film directing career, as an executive producer Abrams has been responsible for an incredible amount of television in a very small space of time.
With Almost Human arriving soon, Rob compares the merits of ten Jj Abrams-produced TV shows, from Lost, to Alias, Revolution, and more...
Warning: contains spoilers for Revolution, and Lost.
Most would agree, Jj Abrams has had a successful career which has gone from strength to strength. Undoubtedly, Star Wars now offers an opportunity for him to reach a creative zenith, but represents also his largest risk. His stylistic choices may not be to everyone’s tastes and he himself admits that there are elements over which he has an obsession (lens flares & secrecy) but these are still a matter of personal taste (I’m ambivalent over the former, and truly appreciate the latter). All that aside, outside his burgeoning film directing career, as an executive producer Abrams has been responsible for an incredible amount of television in a very small space of time.
- 11/14/2013
- by louisamellor
- Den of Geek
“I just know there’s something dark in me and I hide it. I certainly don’t talk about it, but it’s there always, this…dark passenger. And when he’s driving, I feel alive, half sick with the thrill of complete wrongness.
I don’t fight him, I don’t want to. He’s all I’ve got. Nothing else could love me, not even… especially not me.
Or is that just a lie the Dark Passenger tells me? Because lately there are these moments when I feel connected to something else… someone. It’s like the mask is slipping and things… people… who never mattered before are suddenly starting to matter. It scares the hell out of me”
Dexter Morgan
The dichotomy – raging battle ongoing – that engulfs the core of the protagonist summarized in one shatteringly honest, beautifully troubled confession…to an AA meeting, where he is...
I don’t fight him, I don’t want to. He’s all I’ve got. Nothing else could love me, not even… especially not me.
Or is that just a lie the Dark Passenger tells me? Because lately there are these moments when I feel connected to something else… someone. It’s like the mask is slipping and things… people… who never mattered before are suddenly starting to matter. It scares the hell out of me”
Dexter Morgan
The dichotomy – raging battle ongoing – that engulfs the core of the protagonist summarized in one shatteringly honest, beautifully troubled confession…to an AA meeting, where he is...
- 10/13/2013
- by Scott Patterson
- SoundOnSight
Cheaters never prosper, or so they say. And if they do, they’re probably biblical moralists or writers of film noir, the kind where desperate saps with immoral get-rich schemes get punished for their transgressive ambition one way or another, sooner or later. Double Indemnity. No Country for Old Men. And Breaking Bad, the extraordinary, many-things-at-once, neo-noir, desert-western, dark-comedy serial created by Vince Gilligan, which came to an end Sunday night. For five seasons, this bold and cold AMC series chronicled the downfall of a dying, dead-on-the-inside Everyman who sold out his principles (such as they were) to feel alive...
- 9/30/2013
- by Jeff Jensen
- EW.com - PopWatch
Dexter, Season 8, Episode 12, ‘Remember the Monsters?’
Written By Scott Buck & Manny Coto
Directed By Steve Shill
Airs Sundays, 8pm on Showtime
When you begin dreading the final episode of a show you love, it should really be an understandable reaction, one born out of fear and sadness that it is coming to end. Thanks to a collective brain melting session in the offices of Showtime’s Dexter however, this dread has come about due to the pessimistic angst that the closing chapter, the final lines, will be utterly botched and thus conclude the tainting of a once grand story with amateur nonsense. There’s no doubting that the awful quality of Season Eight has left an indelible mark, meaning that anyone going into the grand finale should be wary of being hopeful. Bearing no expectations is probably the best way to go into ‘Remember the Monsters’. Doing that, perversely, means...
Written By Scott Buck & Manny Coto
Directed By Steve Shill
Airs Sundays, 8pm on Showtime
When you begin dreading the final episode of a show you love, it should really be an understandable reaction, one born out of fear and sadness that it is coming to end. Thanks to a collective brain melting session in the offices of Showtime’s Dexter however, this dread has come about due to the pessimistic angst that the closing chapter, the final lines, will be utterly botched and thus conclude the tainting of a once grand story with amateur nonsense. There’s no doubting that the awful quality of Season Eight has left an indelible mark, meaning that anyone going into the grand finale should be wary of being hopeful. Bearing no expectations is probably the best way to go into ‘Remember the Monsters’. Doing that, perversely, means...
- 9/23/2013
- by Scott Patterson
- SoundOnSight
Astro City # 4
Written by Kurt Busiek
Artwork by Brent Eric Anderson
Published by DC/Vertigo Comics
A really great comic can expand its universe and teach us more about the world we’re visiting while telling a story at the same time. It’s a hard balancing act to pull off, and usually readers have to settle for either storytelling or world building. Normally, “Astro City” is one of the few books to manage this feat, but this month’s issue sadly fumbles the ball, expanding the Astro City universe but ultimately failing to tell a really interesting or well developed story.
Our protagonist this time is Martha “Sully” Sullivan, who we last saw way back in the Crimson Cougar story as a supporting character. Sully’s a telekinetic, and mostly uses her gift working in the special effects industry, rather than for costumed heroics or villainy. The issue tells...
Written by Kurt Busiek
Artwork by Brent Eric Anderson
Published by DC/Vertigo Comics
A really great comic can expand its universe and teach us more about the world we’re visiting while telling a story at the same time. It’s a hard balancing act to pull off, and usually readers have to settle for either storytelling or world building. Normally, “Astro City” is one of the few books to manage this feat, but this month’s issue sadly fumbles the ball, expanding the Astro City universe but ultimately failing to tell a really interesting or well developed story.
Our protagonist this time is Martha “Sully” Sullivan, who we last saw way back in the Crimson Cougar story as a supporting character. Sully’s a telekinetic, and mostly uses her gift working in the special effects industry, rather than for costumed heroics or villainy. The issue tells...
- 9/20/2013
- by Thomas O'Connor
- SoundOnSight
Throughout the history of movies there are some brilliantly epic films that stand out in our minds: Indiana Jones, Harry Potter, Lord of the Rings, Pirates of the Caribbean and, of course, Star Wars. But what do all of these movies have in common besides all of their stories unfolding into the adventure of a lifetime? These movies rely on mysticism to save the day.
Normally, we would call using this technique Deus ex Machina which means god from the machine. It means that a problem is abruptly resolved by unexpected means whether that be caused by an event, a person, ability, or object. Generally, it is frowned upon to use this technique because it seems lazy.
For example, think upon the Iron Man series. Tony Stark goes through three entire movies being poisoned by shrapnel which forces him to use and continuously have to strengthen the arc reactor connected to Stark’s electromagnet.
Normally, we would call using this technique Deus ex Machina which means god from the machine. It means that a problem is abruptly resolved by unexpected means whether that be caused by an event, a person, ability, or object. Generally, it is frowned upon to use this technique because it seems lazy.
For example, think upon the Iron Man series. Tony Stark goes through three entire movies being poisoned by shrapnel which forces him to use and continuously have to strengthen the arc reactor connected to Stark’s electromagnet.
- 9/5/2013
- by Laura Bensen
- Obsessed with Film
Feature Ryan Lambie
A thriller produced by Joe Dante? A superhero comic? Capitalist dwarves? They're some of the crowdfunding projects we've picked this week...
Although it's our job to highlight the shiny new crowdfunding projects that emerge onto the internet each week in this post, it's heart warming to see some of the items we've covered in the past get the funding they require.
Some of you may recall that games industry legend Mel Croucher was looking for an entirely reasonable £9,800 to complete his sequel to the eccentric 80s oddity Deus Ex Machina, which would again tell Shakespeare's seven ages of man using graphics, weird sounds and the voice of Christopher Lee.
We were pleased to see that Deus Ex Machina 2 managed to exceed its goal recently, and with four days to go at the time of writing, has managed to amass just under £11,000 - not bad for a niche project based in the UK,...
A thriller produced by Joe Dante? A superhero comic? Capitalist dwarves? They're some of the crowdfunding projects we've picked this week...
Although it's our job to highlight the shiny new crowdfunding projects that emerge onto the internet each week in this post, it's heart warming to see some of the items we've covered in the past get the funding they require.
Some of you may recall that games industry legend Mel Croucher was looking for an entirely reasonable £9,800 to complete his sequel to the eccentric 80s oddity Deus Ex Machina, which would again tell Shakespeare's seven ages of man using graphics, weird sounds and the voice of Christopher Lee.
We were pleased to see that Deus Ex Machina 2 managed to exceed its goal recently, and with four days to go at the time of writing, has managed to amass just under £11,000 - not bad for a niche project based in the UK,...
- 8/1/2013
- by ryanlambie
- Den of Geek
Interview James Hunt 18 Jun 2013 - 07:00
James chats to directing legend Dirk Maggs about Hitchhiker's, superheroes, Neverwhere, sci-fi, and making radio sound sexy, big, and raw...
As a radio writer and director, Dirk Maggs' body of work is about as impressive as it gets. As well as being hand-selected by Douglas Adams to continue the Hitchhiker's Guide to the Galaxy radio series, he's also responsible for this year's smash-hit adaptation of Neil Gaiman's Neverwhere and the Hitchiker's Live touring stage show. James managed to catch up with him for a chat about life, the universe, and everything geeky.
So last year you did the Hitchhiker's Live tour, which reunited the radio cast on stage and had people like Stephen Fry and Neil Gaiman guesting as the voice of the book. And clearly, it was a great success, because as well as releasing the live recording, you're doing another run this year,...
James chats to directing legend Dirk Maggs about Hitchhiker's, superheroes, Neverwhere, sci-fi, and making radio sound sexy, big, and raw...
As a radio writer and director, Dirk Maggs' body of work is about as impressive as it gets. As well as being hand-selected by Douglas Adams to continue the Hitchhiker's Guide to the Galaxy radio series, he's also responsible for this year's smash-hit adaptation of Neil Gaiman's Neverwhere and the Hitchiker's Live touring stage show. James managed to catch up with him for a chat about life, the universe, and everything geeky.
So last year you did the Hitchhiker's Live tour, which reunited the radio cast on stage and had people like Stephen Fry and Neil Gaiman guesting as the voice of the book. And clearly, it was a great success, because as well as releasing the live recording, you're doing another run this year,...
- 6/18/2013
- by louisamellor
- Den of Geek
Feature Ryan Lambie 24 May 2013 - 06:10
This week's selection of geek-friendly crowdfunding projects includes a Marvel movie documentary, a game remake, and some classic manga...
Aside from all the new ideas to be found on crowdfunding websites such as Kickstarter - including a new variety of beef jerky made from posh Japanese cows - there are all sorts of opportunities to indulge our sense of nostalgia.
Through sheer coincidence, the projects that caught my eye this week all have a retro theme; there's a documentary about a forgotten adaptation of a Marvel comic book, a timely revival of one of the most innovative computer games of the 1980s, and a special English language edition of a classic Japanese manga. Although very different, each of these crowdfunding projects is worthy of support, since they're all niche interests that simply couldn't find financial backing through other means.
There's another retro-themed Kickstarter project on the horizon,...
This week's selection of geek-friendly crowdfunding projects includes a Marvel movie documentary, a game remake, and some classic manga...
Aside from all the new ideas to be found on crowdfunding websites such as Kickstarter - including a new variety of beef jerky made from posh Japanese cows - there are all sorts of opportunities to indulge our sense of nostalgia.
Through sheer coincidence, the projects that caught my eye this week all have a retro theme; there's a documentary about a forgotten adaptation of a Marvel comic book, a timely revival of one of the most innovative computer games of the 1980s, and a special English language edition of a classic Japanese manga. Although very different, each of these crowdfunding projects is worthy of support, since they're all niche interests that simply couldn't find financial backing through other means.
There's another retro-themed Kickstarter project on the horizon,...
- 5/22/2013
- by ryanlambie
- Den of Geek
Doctor Who, Series 7, Episode 13: “Nightmare in Silver”
Written by Neil Gaiman
Directed by Stephen Woolfenden
Airs Saturdays at 9pm (Et) on BBC America
This week, on Doctor Who: We meet Locutus of Doctor, Porridge has good taste in Queens, and the Cyberiad is back en masse
Life-long Whovian Neil Gaiman made a big splash with his first contribution to Doctor Who, series six’s fantastic “The Doctor’s Wife”. When word came out that he was returning in series seven to pen the return of the Cybermen, fans were understandably excited. Unfortunately, “Nightmare in Silver”, while it has its charms, is massively uneven and nowhere near as satisfying as the emotional and eminently rewatchable “The Doctor’s Wife”. This is one of the most qualitatively schizophrenic episodes in quite a while, so to best approach it, I’m ditching my usual format and going for bullet points.
Written by Neil Gaiman
Directed by Stephen Woolfenden
Airs Saturdays at 9pm (Et) on BBC America
This week, on Doctor Who: We meet Locutus of Doctor, Porridge has good taste in Queens, and the Cyberiad is back en masse
Life-long Whovian Neil Gaiman made a big splash with his first contribution to Doctor Who, series six’s fantastic “The Doctor’s Wife”. When word came out that he was returning in series seven to pen the return of the Cybermen, fans were understandably excited. Unfortunately, “Nightmare in Silver”, while it has its charms, is massively uneven and nowhere near as satisfying as the emotional and eminently rewatchable “The Doctor’s Wife”. This is one of the most qualitatively schizophrenic episodes in quite a while, so to best approach it, I’m ditching my usual format and going for bullet points.
- 5/13/2013
- by Kate Kulzick
- SoundOnSight
Odd List Ryan Lambie 16 Apr 2013 - 06:46
Eccentric and sometimes ungainly, here are seven 80s videogames that were full of innovative or outlandish ideas...
Placing our rose-tinted goggles of nostalgia aside for one moment, it's fair to say that a large percentage of games from the 1980s were painfully simplistic. But in among all the clones of popular arcade machines, which were ubiquitous on computers and consoles throughout the decade, there were legion lesser-known games which were full of innovative ideas and a sense of ambition that far outstripped their technical resources.
Not all of these ideas necessarily came off in the way they were intended, admittedly; while some are utterly brilliant, in other instances, their outlandish concepts were let down by some iffy execution. This list is devoted to the more eccentric games of the 1980s; the ones full of imagination and wit, and which, although not necessarily discussed much today,...
Eccentric and sometimes ungainly, here are seven 80s videogames that were full of innovative or outlandish ideas...
Placing our rose-tinted goggles of nostalgia aside for one moment, it's fair to say that a large percentage of games from the 1980s were painfully simplistic. But in among all the clones of popular arcade machines, which were ubiquitous on computers and consoles throughout the decade, there were legion lesser-known games which were full of innovative ideas and a sense of ambition that far outstripped their technical resources.
Not all of these ideas necessarily came off in the way they were intended, admittedly; while some are utterly brilliant, in other instances, their outlandish concepts were let down by some iffy execution. This list is devoted to the more eccentric games of the 1980s; the ones full of imagination and wit, and which, although not necessarily discussed much today,...
- 4/15/2013
- by ryanlambie
- Den of Geek
When recently drafting an article contrasting classic Doctor Who to the new series, there was the little matter of the Sonic Screwdriver. It actually became a difficult thing to categorize, because Doctor Who has had a difficult time with the device.
Every time it serves a legitimate purpose, there seems to be another occasion that it seems to be a writing shortcut. Every time it does something that legitimately seems to be “sonically” induced, there’s another occasion where it seemingly would be better accompanied by the Doctor just saying “Deus Ex Machina!” or some Harry Potteresque nonsense.
Lest anyone think I’m solely picking on the new series. Nope: the classic series had it forcibly removed in 1982′s “The Visitation” as it was too often used as a shortcut. Apparently. The truth is, it came down to the writer – If the Doctor needed to be incapacitated or locked up beyond the screwdriver’s reach,...
Every time it serves a legitimate purpose, there seems to be another occasion that it seems to be a writing shortcut. Every time it does something that legitimately seems to be “sonically” induced, there’s another occasion where it seemingly would be better accompanied by the Doctor just saying “Deus Ex Machina!” or some Harry Potteresque nonsense.
Lest anyone think I’m solely picking on the new series. Nope: the classic series had it forcibly removed in 1982′s “The Visitation” as it was too often used as a shortcut. Apparently. The truth is, it came down to the writer – If the Doctor needed to be incapacitated or locked up beyond the screwdriver’s reach,...
- 4/9/2013
- by John McGrath
- Obsessed with Film
Rating: 4 out of 5 stars
Reading Action Comics #19 is such a bittersweet experience. Andy Diggle has written what really feels like the first Superman comic of the New 52, but Diggle has also already left the book. Official reasons as to why have not really been given outright, but in all likelihood it’s another instance of editor interference creating extreme dissatisfaction with the creative teams. It’s been happening a lot at DC, and it’s getting to a point where it’s almost comical, if it weren’t such a bummer for the fans. Anyway, more about Superman, less about DC.
It’s the first book after Grant Morrison’s run (which I suspect will read better in collected format) so in a way it’s almost a reboot within a reboot. If you didn’t read any of Morrison’s run you won’t have any problems jumping into this issue.
Reading Action Comics #19 is such a bittersweet experience. Andy Diggle has written what really feels like the first Superman comic of the New 52, but Diggle has also already left the book. Official reasons as to why have not really been given outright, but in all likelihood it’s another instance of editor interference creating extreme dissatisfaction with the creative teams. It’s been happening a lot at DC, and it’s getting to a point where it’s almost comical, if it weren’t such a bummer for the fans. Anyway, more about Superman, less about DC.
It’s the first book after Grant Morrison’s run (which I suspect will read better in collected format) so in a way it’s almost a reboot within a reboot. If you didn’t read any of Morrison’s run you won’t have any problems jumping into this issue.
- 4/7/2013
- by Christopher Jones
- Obsessed with Film
(This review goes into detail on several plot points in order to explain just how stupid the story is in places so “spoiler alert”. This means if you don’t want to know what the book is about, stop reading now.)
This was actually my second attempt at reading this book – I was sent a proof copy by the publisher last summer and I barely made to the end of the first issue before giving up. The reasons why weren’t complex – I was just bored with it and didn’t want to read to the end. But in the months that followed, this book began clocking up quite a following and I saw all these rave reviews online. So I had to give it another shot – perhaps I had been too hasty in judging this book?
Well, yes and no. This isn’t as unreadable as I remembered – though...
This was actually my second attempt at reading this book – I was sent a proof copy by the publisher last summer and I barely made to the end of the first issue before giving up. The reasons why weren’t complex – I was just bored with it and didn’t want to read to the end. But in the months that followed, this book began clocking up quite a following and I saw all these rave reviews online. So I had to give it another shot – perhaps I had been too hasty in judging this book?
Well, yes and no. This isn’t as unreadable as I remembered – though...
- 4/2/2013
- by Noel Thorne
- Obsessed with Film
The Art House Convergence, now in its 6th year, is held just prior to Sundance Film Festival and gives art house theater owners a chance to collectively address issues of common concern in a supportive and congenial setting. Increasingly, art house distributors are also enjoying the chance to meet and talk personally with their constituency.
Russell Collins, CEO of the Michigan Theater and Director of the Art House Convergence has this to say:
Thanks to everyone who attended the Art House Convergence – it was a record setting year in every way. Despite the challenges we all face, I think most who attended the Convergence came away with the feeling that there is a bright horizon ahead for community-based, mission-driven Art House cinemas. Thanks to all the panelist and volunteers who made the 2013 Art House Convergence a success! Several people asked me to post the text from my welcoming address, which you will find below. Thanks again everyone!! Best Regards – Russ
Welcome Address by Russ Collins, Director, Art House Convergence
Welcome to the Art House Convergence. Welcome as we celebrate the Brave New American Art House. Thank you for taking the time and trouble to gather here in Utah with colleagues and friends and, with strangers who will soon be friends, to execute the mission of the Art House Convergence.
The mission of the Art House Convergence is to increase to quantity and quality of Art House cinemas in North America. We hope you will help us pursue that mission by constantly improving your Art House, as well as helping colleagues make their Art Houses better place for audiences to experience cinema art and be highly effective community centers.
This conference would not be possible without the hard work by a dedicated group of volunteers. Thanks to Art House Convergence Conference Committee – if you participated in one or more of those Friday calls that happen throughout the year as we plan the Art House Convergence, stand and be recognized.
It is so great to see so many of you here! How many are here for the first-time? Wonderful, welcome to Utah to the Art House Convergence. How many of you are staying, for at least a day or two to go to Park City and check out the Sundance Film Festival?
I see a lot of friends; friend that have grown from the 25 brave souls who came to this first Art House Convergence to this year, with nearly 350 registered delegates at this, the sixth annual gathering of community-based, mission-driven cinema operators.
The strong theme of this year’s conference is The Brave New American Art House. So, what’s the Brave New American Art House?
The Brave New American Art House is a set of ideals that looks something like this:
It is located in Canada, Mexico or the USA. It is focused on frequent and regular screenings of Art House movies – classic, foreign, documentary, independent and experimental cinema (and sometimes other cultural programs the community demands). It actively seeks community support – it believes philanthropy and volunteers are important and viable sources of revenue and support. It is a cultural institution – it teaches its community about the art, craft, grammar and historical importance of cinema. As possible it is dedicated to quality celluloid And digital exhibition methods – providing state-of-the-art image and sound across all eras and formats (including live music for silent-era films). It believes excellent customer service is paramount – it trains it employees and manages its marketing, facilities, event presentations and staff to put the customer’s experience first. It makes cinema come alive – with intelligently curated programs and ever expanding relationships with living filmmakers. It is community-based – it is not part of a national chain. It is mission-driven – it has a triple bottom line: A triple bottom line calculated in: 1) community benefit; 2) artistic quality; and 3) financial success. Its business management is strategic – it plans effectively and does not expect Deus ex Machina* to magically provide for its financial success. The Brave New American Art House annually sends staff and board members to the Art House Convergence to have fun learning and being inspired by dedicated and resourceful colleagues.
The “Brave New” of the Brave New American Art House is an intentional literary reference to both Aldous Huxley and Shakespeare – because, you know, Art House people are just a little smarter and better-read than your average movie exhibitor (some might say “snooty,” rather than smarter and better read, but I think “smarter and better read” works better with this audience). Huxley’s novel expressed the notion that the fast-paced world of the future would force dehumanizing changes, causing anxiety, the loss of intimacy and individuality. Plus, Huxley also predicted that movies in year 2540 would be called “feelies,” a cinema-style entertainment that creates the illusion of an entertainment reaching out and literally touching the audience. Which given the ironic nature of the novel supports the poetic notion that 3-D is the movie technology of the future – and it always will be!
Of course Huxley and the Convergence both stole the phase “brave new” from Shakespeare’s The Tempest. The play’s most famous lines are said by the Prospero’s daughter Miranda, who looked on in wonder as drunken sailors stagger in a disorderly manner from their wrecked ship, and said:
“O wonder!
How many goodly creatures are there here!
How beauteous mankind is! O brave new world,
That has such people in't.”
And although Shakespeare’s words spoken by is character Miranda were ironic, I believe, stated without irony, that this “brave new” notion is correct, because today and for the next several days the Zermatt and Homestead resorts will be full of goodly people; goodly community-based, mission-driven Art House people. How beauteous it is; O brave new world, to have such people, such Art House people in’t!
The ethos of the Art House Convergence is a commitment to quality, openness and community. It is the antithesis of the “whatever the market will bear,” cutthroat and mass market dynamics of commercial exhibition. Please know I’m not saying one is better than the other – both of these commercial dynamics are viable, even needed, but the ethos of each are juxtaposed. The Art House Convergence ethos embraces the notion that philanthropic subsidy from a community will create a stable, culturally significant center for cinema to be experience, taught, supported and loved for cinemas intrinsic artistic and cultural worth and for civic enrichment of communities.
The community-based, mission-driven exhibitor is a powerful but subtle aspect of the movie business; too subtle to be deeply appreciated in a blockbuster obsessed media or in a greed driven entertainment industry. And, let’s be honest the Art House movement will not create millionaires and it will not be the hot new thing that transform media culture.
At this point cinema is an old art form, like painting and writing, sculpture and dance, theater and music. Although artists always do new things with their forms of art, the art of cinema itself is now an old form. It can no longer be a shiny new thing and that’s Ok; because cinema presented on a big screen in a darken room full of strangers is a great thing; a profound thing that can deeply move the human psyche and transform lives.
Although the financial scale of the Art House, compared to half-a-billion dollar superhero blockbuster, is rather small, it is significant and the long-term impact is critically important; because the Art House plays an essential role in preserving and promoting the best and the brightest of cinema for diverse audiences. Your Art House is a sacred shrine and home to the most profound form of creative expression created in recent human time.
And just as important, Art Houses are exciting, sustainable and practical venues that effectively bolster the vitality of local neighborhoods and transform lives through the creative vision of the people who work there and the poignant cinema found in these remarkable little arts institutions.
Over the decades, the Art House community has had a hard time finding its voice, a hard time believing it is in fact a community and a hard time feeling like it is a citizen in the wider cinema world. But now, with the Art House Convergence we have found our collective voice, we are starting to believe in our potential and we are growing the number of communities throughout North America who are demanding community-based, mission-driven Art House cinemas in their towns.
Your Art House as a key community institution – feel it, own it. You provide a vital service and you are an important economic driver in your neighborhood. Being a community-based, mission-driven, not-for-profit Art House you can be much more than mere movie venue and employer, or recipient of charity and coordinator of volunteers. You are a flagship asset, an essential cog and an indispensable part of a healthy community.
Over the next few days, what will be most important for those of us gathered here in Utah is to feel the strength and joy of being among kindred souls, of benefiting from shared knowledge and experience and feeling anchored to this non-profit Art House movement.
Welcome to the 2013, Art House Convergence celebrating The Brave New American Art House. We hope all delegates, who this year come from around the world, will share with great enthusiasm all that is wonderful and brave and new about their Art House and their community. Thank you for coming to the Convergence. And as the Bard of Stratford on Avon almost said, “How beauteous it is; O brave new world, to have such people, such Art House people in’t!” Enjoy the 2013 Art House Convergence.
From Russ Collins
CEO, MichiganTheater-AnnArbor
Director, Art House Convergence...
Russell Collins, CEO of the Michigan Theater and Director of the Art House Convergence has this to say:
Thanks to everyone who attended the Art House Convergence – it was a record setting year in every way. Despite the challenges we all face, I think most who attended the Convergence came away with the feeling that there is a bright horizon ahead for community-based, mission-driven Art House cinemas. Thanks to all the panelist and volunteers who made the 2013 Art House Convergence a success! Several people asked me to post the text from my welcoming address, which you will find below. Thanks again everyone!! Best Regards – Russ
Welcome Address by Russ Collins, Director, Art House Convergence
Welcome to the Art House Convergence. Welcome as we celebrate the Brave New American Art House. Thank you for taking the time and trouble to gather here in Utah with colleagues and friends and, with strangers who will soon be friends, to execute the mission of the Art House Convergence.
The mission of the Art House Convergence is to increase to quantity and quality of Art House cinemas in North America. We hope you will help us pursue that mission by constantly improving your Art House, as well as helping colleagues make their Art Houses better place for audiences to experience cinema art and be highly effective community centers.
This conference would not be possible without the hard work by a dedicated group of volunteers. Thanks to Art House Convergence Conference Committee – if you participated in one or more of those Friday calls that happen throughout the year as we plan the Art House Convergence, stand and be recognized.
It is so great to see so many of you here! How many are here for the first-time? Wonderful, welcome to Utah to the Art House Convergence. How many of you are staying, for at least a day or two to go to Park City and check out the Sundance Film Festival?
I see a lot of friends; friend that have grown from the 25 brave souls who came to this first Art House Convergence to this year, with nearly 350 registered delegates at this, the sixth annual gathering of community-based, mission-driven cinema operators.
The strong theme of this year’s conference is The Brave New American Art House. So, what’s the Brave New American Art House?
The Brave New American Art House is a set of ideals that looks something like this:
It is located in Canada, Mexico or the USA. It is focused on frequent and regular screenings of Art House movies – classic, foreign, documentary, independent and experimental cinema (and sometimes other cultural programs the community demands). It actively seeks community support – it believes philanthropy and volunteers are important and viable sources of revenue and support. It is a cultural institution – it teaches its community about the art, craft, grammar and historical importance of cinema. As possible it is dedicated to quality celluloid And digital exhibition methods – providing state-of-the-art image and sound across all eras and formats (including live music for silent-era films). It believes excellent customer service is paramount – it trains it employees and manages its marketing, facilities, event presentations and staff to put the customer’s experience first. It makes cinema come alive – with intelligently curated programs and ever expanding relationships with living filmmakers. It is community-based – it is not part of a national chain. It is mission-driven – it has a triple bottom line: A triple bottom line calculated in: 1) community benefit; 2) artistic quality; and 3) financial success. Its business management is strategic – it plans effectively and does not expect Deus ex Machina* to magically provide for its financial success. The Brave New American Art House annually sends staff and board members to the Art House Convergence to have fun learning and being inspired by dedicated and resourceful colleagues.
The “Brave New” of the Brave New American Art House is an intentional literary reference to both Aldous Huxley and Shakespeare – because, you know, Art House people are just a little smarter and better-read than your average movie exhibitor (some might say “snooty,” rather than smarter and better read, but I think “smarter and better read” works better with this audience). Huxley’s novel expressed the notion that the fast-paced world of the future would force dehumanizing changes, causing anxiety, the loss of intimacy and individuality. Plus, Huxley also predicted that movies in year 2540 would be called “feelies,” a cinema-style entertainment that creates the illusion of an entertainment reaching out and literally touching the audience. Which given the ironic nature of the novel supports the poetic notion that 3-D is the movie technology of the future – and it always will be!
Of course Huxley and the Convergence both stole the phase “brave new” from Shakespeare’s The Tempest. The play’s most famous lines are said by the Prospero’s daughter Miranda, who looked on in wonder as drunken sailors stagger in a disorderly manner from their wrecked ship, and said:
“O wonder!
How many goodly creatures are there here!
How beauteous mankind is! O brave new world,
That has such people in't.”
And although Shakespeare’s words spoken by is character Miranda were ironic, I believe, stated without irony, that this “brave new” notion is correct, because today and for the next several days the Zermatt and Homestead resorts will be full of goodly people; goodly community-based, mission-driven Art House people. How beauteous it is; O brave new world, to have such people, such Art House people in’t!
The ethos of the Art House Convergence is a commitment to quality, openness and community. It is the antithesis of the “whatever the market will bear,” cutthroat and mass market dynamics of commercial exhibition. Please know I’m not saying one is better than the other – both of these commercial dynamics are viable, even needed, but the ethos of each are juxtaposed. The Art House Convergence ethos embraces the notion that philanthropic subsidy from a community will create a stable, culturally significant center for cinema to be experience, taught, supported and loved for cinemas intrinsic artistic and cultural worth and for civic enrichment of communities.
The community-based, mission-driven exhibitor is a powerful but subtle aspect of the movie business; too subtle to be deeply appreciated in a blockbuster obsessed media or in a greed driven entertainment industry. And, let’s be honest the Art House movement will not create millionaires and it will not be the hot new thing that transform media culture.
At this point cinema is an old art form, like painting and writing, sculpture and dance, theater and music. Although artists always do new things with their forms of art, the art of cinema itself is now an old form. It can no longer be a shiny new thing and that’s Ok; because cinema presented on a big screen in a darken room full of strangers is a great thing; a profound thing that can deeply move the human psyche and transform lives.
Although the financial scale of the Art House, compared to half-a-billion dollar superhero blockbuster, is rather small, it is significant and the long-term impact is critically important; because the Art House plays an essential role in preserving and promoting the best and the brightest of cinema for diverse audiences. Your Art House is a sacred shrine and home to the most profound form of creative expression created in recent human time.
And just as important, Art Houses are exciting, sustainable and practical venues that effectively bolster the vitality of local neighborhoods and transform lives through the creative vision of the people who work there and the poignant cinema found in these remarkable little arts institutions.
Over the decades, the Art House community has had a hard time finding its voice, a hard time believing it is in fact a community and a hard time feeling like it is a citizen in the wider cinema world. But now, with the Art House Convergence we have found our collective voice, we are starting to believe in our potential and we are growing the number of communities throughout North America who are demanding community-based, mission-driven Art House cinemas in their towns.
Your Art House as a key community institution – feel it, own it. You provide a vital service and you are an important economic driver in your neighborhood. Being a community-based, mission-driven, not-for-profit Art House you can be much more than mere movie venue and employer, or recipient of charity and coordinator of volunteers. You are a flagship asset, an essential cog and an indispensable part of a healthy community.
Over the next few days, what will be most important for those of us gathered here in Utah is to feel the strength and joy of being among kindred souls, of benefiting from shared knowledge and experience and feeling anchored to this non-profit Art House movement.
Welcome to the 2013, Art House Convergence celebrating The Brave New American Art House. We hope all delegates, who this year come from around the world, will share with great enthusiasm all that is wonderful and brave and new about their Art House and their community. Thank you for coming to the Convergence. And as the Bard of Stratford on Avon almost said, “How beauteous it is; O brave new world, to have such people, such Art House people in’t!” Enjoy the 2013 Art House Convergence.
From Russ Collins
CEO, MichiganTheater-AnnArbor
Director, Art House Convergence...
- 2/1/2013
- by Russell Collins
- Sydney's Buzz
Season four of The Good Wife has given us the characters we love and a roster of eye-popping guest-stars, but it seems like they're all peeking out from behind dubious storylines and only occasionally interesting cases. Since there was no new episode this week, I suggest we write letters of contempt to Phil Keoghan for his two-hour roadblock and then think about what more we want from Alicia's fourth season. We know Nick Sevarese's nonsense is over, but what else is on our Good Wife wish list? Here are seven things I want.
1. I want Kalinda to be enigmatic again.
Kalinda Sharma is The Good Wife's resident superhero. She's an unending medley of perfect retorts, knowing glances, and investigative gusto. This season we've suffered as Kalinda trudged through a storyline with horrible husband Nick Sevarese that, I think, was designed to make her look both vulnerable and dangerously sexy.
1. I want Kalinda to be enigmatic again.
Kalinda Sharma is The Good Wife's resident superhero. She's an unending medley of perfect retorts, knowing glances, and investigative gusto. This season we've suffered as Kalinda trudged through a storyline with horrible husband Nick Sevarese that, I think, was designed to make her look both vulnerable and dangerously sexy.
- 12/10/2012
- by virtel
- The Backlot
As I write this, my Bears are presently phoning in a performance so bad I’m opting to write my article instead. The game is on, yes. But, frankly, I’m not even paying attention. I guess I owe my bad-news-Bears a debt of gratitude, though. They are giving me the inspiration for a column this week.
Nothing grinds my gears more than a weak start. And this week past, a comic that should have been a touchdown upon reception was a weak three-and-out worthy of the finger wagging like no other. Matt Fraction and Mark Bagley’s relaunched Marvel Now Fantastic Four #1 was a let down of mammoth proportions. And it warrants a bit of a rant.
Generally speaking I like to keep my reviews (chock full of piss and vinegar) over at Michael Davis World. But I was too elated by Gail Simone’s Batgirl this week past...
Nothing grinds my gears more than a weak start. And this week past, a comic that should have been a touchdown upon reception was a weak three-and-out worthy of the finger wagging like no other. Matt Fraction and Mark Bagley’s relaunched Marvel Now Fantastic Four #1 was a let down of mammoth proportions. And it warrants a bit of a rant.
Generally speaking I like to keep my reviews (chock full of piss and vinegar) over at Michael Davis World. But I was too elated by Gail Simone’s Batgirl this week past...
- 11/24/2012
- by Marc Alan Fishman
- Comicmix.com
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