It’s another season of Marvel TV, so it’s time to go through the all-important mythos introductions with this first episode. In this case, the titular character is pretty straightforward as Loki (Tom Hiddleston) has been with us since his Marvel cinematic debut with Thor in 2011. He’s charming, arrogant, happy to knife anyone that gets in his way, and his helmet is still both utterly ridiculous and fashionably dashing. The only minor complication is that the Loki we have here is the defeated mischievous god at the end of Avengers Assemble, rather than the emotionally evolved one we saw die in Infinity War. But don’t worry about that, as this is just Marvel Universe 199999, introducing us to the fun multiverse shenanigans that Universe 616 has been dealing with for ages.
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Category Archives: 2020s’
Growth (2021) – Comic Review

This is probably a redundant observation to make but Lockdown has been a total arse of a time for most people. Yes, measures had to be put in place to limit the spread and impact of Covid; but the lack of social contact has been utterly exhausting. This is addressed head-on in Growth, a 53-page comic by Jenny Allen.
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Red Shift: Issue 1 (2021)
According to the blub that came in the review pack “Redshift #1 is a bleak sci-fi mini-series which can best be described as Lost In Space meets The Expanse”. By the second page, we have a dead mother, a few pages further on we have a sinister Ministry controlling Mars, and by the halfway point we have a story-within-a-story that could have been a depressing gut-kick of a comic within itself. So; yes, it’s nice to have a comic live up to its own hype.
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Army Of The Dead (2021)

When Zach Snyder debuted in the feature film world, it was with his 2004 remake of Dawn of The Dead. It was a smart, exciting, and overall interesting take on George A Romero’s classic zombie story; taking the basic set-up and social themes, then working in some new flourishes to keep the audience guessing. The movie had something to say, it knew how to do that in a visually and emotionally satisfying way, and whilst it played with themes of inertia and boredom it did so without frustrating the audience. It was an explosive, captivating film, from a director with everything to prove. Continue reading
The Devil All The Time (2020)

Continuing with its run of “it’s okay, if you like that sort of thing” films from big-name producers, Netflix has entered into the world of American Gothic with “The Devil All The Time”. Adapted from the book of the same name, and with its author Donald Ray Pollock acting as the narrator through its 138 minutes run-time, it follows the life paths of Willard Russell (Bill Skarsgård) and his son Arvin Russell (Tom Holland) as they deal with violence, death, and religion in ’40s, 50’s and 60’s Knockemstiff, Ohio. Intertwined with them are the various lives, challenges, and horrific murders of everyday rural America, resulting in a road trip through an Appalachian heart of darkness. Unfortunately, for all the wonderful scenery and charming locals, it never really ends up going anywhere.
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Vampires vs. the Bronx (2020)

Due to the hole in the market left by broadcast media no longer running Halloween horror marathons, over the last couple of years Netflix has regularly dropped spooky movies under its Originals brand at the start of October. It started around 2016 with I Am the Pretty Thing That Lives in the House, a well-received, high-brow gothic horror. Since then, their annual offering has switched between high-brow (Apostle) and gory-camp (The Babysitter), but has constantly focused on the adult audiences. This year, with Osmany Rodriguez as writer and director, they have brought us something a lot more family-friendly in the shape of Vampires vs. the Bronx.
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The Tomb: Devil’s Revenge (2020)

What’s better than a self-proclaimed action-horror B-movie? One that’s got William Shatner in a starring role and as a producer? And what’s even better than that? One where he seems to have got the producer credit by pulling in his Star Trek TNG contacts to be in front and behind the cameras. Yes, it’s a modestly budgeted three-act fun-timer set to “traditional tropes”, but it’s also playing with some expectations. The story focuses on John – also known as Sergio (Jason Brooks), an archaeologist who spends his time pot-holing in Kansas to try and find the relic that has cursed his family for generations. Great for trying to keep his heartless and unloving father (William Shatner) happy, not so great for his long-suffering wife Susan (Jeri Ryan) or his red-shirted caving assistants. What’s the curse and where does it come from? Well, that’s not quite clear. But you don’t need to know that, only that it’s enough of a McGuffin to get everyone worried enough to put themselves in danger for our amusement.
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Deep Blue Sea 3 (2020) –

The sequel to the 2018 Deep Blue Sea 2 that few remember, which itself was a sequel to the 1999 Deep Blue Sea that many remember as being about genetically engineered killer sharks, is out on disc, and it’s time for everyone to quietly scoff at the silliness of the idea just like they have for the last 20 years. Inevitably people will chortle “It’s never going to be as good as Jaws”, because apparently 1975 was when “scary things in the water” films hit their absolute zenith, never to return. And, yes, if you want to compare it to one of the most perfectly crafted thriller movies ever put on the big screen, then it won’t stand up to it. But that’s because this is a slasher film, a totally different beast (as it were), and it’s playing, and winning, by a very different set of rules.
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The Last Days of American Crime (2020)

There’s been a lot of hype going around Netflix’s latest action-adventure, The Last Days of American Crime; mostly that it’s a terrible movie and that Netflix should be ashamed of themselves for making it. But, having sat through its 148 minutes run time (138, if you discount the solid 10 minutes of credits), I believe that it’s not that bad a movie. It’s just a bit too long, a bit undercooked, and nihilistic in an unfashionable manner.
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