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Marvel’s Inhumans

The first trailer for Marvel’s Inhumans is here and, well, it doesn’t look that great really.

Whilst they might not have the high profile of the X-Men or Spider-Man Marvel’s Inhumans have been around for decades first appearing in the 60’s. The origins of the Inhumans are a little convoluted but simply put they’re the result of genetic engineering by the Kree (an alien race) on primitive man in the hopes to use them against their foes the Skrulls (another alien race) in a war. The Kree abandoned their plans and left the Inhumans behind on the Moon. Completely seperate from the rest of humanity they developed their own advanced society in the city state of Attilan.

Whilst the enigmatic Black Bolt (Anson Mount) might be the King of the Inhumans, capable of levelling a city just by whispering, Medusa (Serinda Swan) is Queen of the Inhumans and no mere trophy wife either.  Medusa is not only a central figure within the Inhumans society, acting as interpreter for the silent Black Bolt (communicating via sign language) and helping conduct affairs of the state, she’s also a skilled and capable fighter. Medusa’s lengthy hair has greater tensile strength than iron wire and she can control and manipulate it at will. She can lift, hold and move objects (including people) using her hair and also use it for precise tasks like picking a lock. You’d never know any of this from what you see in the trailer though as there’s no indication she has any powers, or any importance, at all. She doesn’t even speak.

What’s really interesting is the poster for Inhumans gives the impression that, understandably, Black Bolt, Medusa and Maximus are the main characters of this series but the trailer, the first trailer which will impact the first impression that potential viewers have, utterly fails to show why Medusa is on that poster.  Whilst it’s out of context it does seem to be indicating Medusa is basically helpless before Maximus who seemingly subjugates with no problems at all.

Marvel is pretty appalling at representation for anyone who isn’t a white guy in their on screen universe. Medusa in Inhumans could be a prime opportunity to add another ‘strong female character’ to Marvel’s on screen presence (granted it’s a white woman) but the trailer utterly fails to give any impression that she matters at all in the world of the Inhumans, that’s besides the complete absence of her powers.

Black Bolt’s treacherous brother Maximus (Iwan Rheon) gets the main focus of this first trailer but the stand out by far is actually Lockjaw, the huge teleporting dog that serves as Black Bolt’s guardian of sorts. Inhumans could be a great drama about a royal family that just happens to have strange abilities/powers but this trailer doesn’t do a good job of selling it. There’s a definite sense that it really doesn’t have the budget to do these characters properly given their visual effects intensive powers.

There’s a lot of noise about Inhumans being shot on IMAX but there’s little evidence as to why it’s been shot on IMAX, almost everything about the first trailer looks amateurish, bland and low budget in a bad way. Whilst the marketing seems to be trying to make it seem like ‘event’ TV the actual trailer does the opposite.

Blood Drive

In the opening scene of Blood Drive Grace (Christina Ochoa) stabs a would be rapist in the groin and then feeds him head first into the meat grinder in her cars engine, an engine that runs on blood.

Welcome to the mad, lurid and sleazy world of Blood Drive created by James Roland.

Arthur (Alan Ritchson) is the one good cop left working for Contracrime a privatised police force that brutalises citizens without hesitation in a dystopian 1999. This is a brutal America where gas prices are extortionate, water is strictly rationed and life is cheap. Following a hunch results in Arthur stumbling on a crazy world of deadly races overseen by the vaudevillian host Julian Slink (Colin Cunningham). Arthur soon finds himself paired up with experienced driver Grace against his will.

Meanwhile Arthur’s partner Chris (Thomas Dominique) finds himself in a whole other kind of trouble after joining fellow officer Aki (Marama Corlett) the pair stumble upon some disturbing truths about the owners of his employer Heart Industries.

Blood Drive introduces numerous characters, including the drivers of several vehicles in the race, with the exception of The Gentleman (Andrew Hall) and The Scholar (Darren Kent) most are just in the background of the ensuing madness. Grace is the archetypal bad ass hot girl anti-hero, her motivations for being in the race might be coming from a good place (earning money to help her sick sister) but she has absolutely no qualms with killing anyone that gets in her way. Anyone could end up being fuel for her car. Whilst Arthur is the rugged square jawed good guy in a world gone bad and his sense of morality is distinctly at odds with the situation he finds himself in.

 Ochoa and Ritchson are clearly having fun and the pair make for a good odd couple. Meanwhile Cunningham embraces his role with impressive gusto. Dominique meanwhile seems somewhat removed from the craziness the other characters find themselves in, how, or if, the characters will be reunited remains to be seen.

Coming across like the bastard son of Roger Corman’s Death Race 2000 the refreshing thing about Blood Drive is the way it commits itself  wholeheartedly to its concept and aesthetic. With an ever expanding number of TV shows eager to get your attention it’s pretty rare to find something that doesn’t even try and go for some sort of mass appeal in anyway.  This is lurid, crass, sleazy, bloody, exploitative TV which you will either love or hate.

There are a lot of ideas here, that’s besides the idea of cars engineered to run on blood. The whole thing comes across a little like a brain storming session between 70’s drive-in fans in a dive bar. The trailer promises “Cannibals. Monsters. Cults. Lawmen. Nymphos. Amazons”.  Blood Drive embraces the comedic potential of splatter like Peter Jackson’s Brain Dead aka Dead Alive or  Ash Vs Evil Dead. The race itself is just the narrative frame work for everything else. Although it should pretty obvious Blood Drive is in no way a ‘serious’ dystopian TV series like The Handmaid’s Tale and any criticism for failing to ‘address things’ is spectacularly missing the point.

Wonder Woman

After 75 years Diana of Themyscira aka Wonder Woman has finally made it on to the big screen.

Whilst there have been 9 Batman films and 9 Superman films to date, if you wanted to see a superhero film based on a DC character that isn’t a guy, well then you’re stuck with Catwoman and Supergirl (if you’re a Marvel fan well then you’re stuck with Elektra). That a Wonder Woman films exists at all is reason to rejoice in itself but that it’s been directed by a woman, Patty Jenkins, is a big deal in an industry still rife with sexism.

This latest film in the DC Universe works so well because aside from scenes that book end the film this is removed from everything that’s gone before, which is good, because everything that’s gone before was overwrought, flawed and underwhelming at best.

After several divisive films mainly featuring characters seen numerous times before it’s not exaggerating to say that Patty Jenkins, Gal Gadot and Chris Pine (amongst others) have pretty much just saved the entire DC cinematic universe with this film. Saying DC and Warner Bros were pretty desperate for a film with a real buzz about it, along with being a critical and financial success, is probably an understatement. They’ve been playing catch up with Marvel Studios ever since the lacklustre Man of Steel.

The hidden paradise island of Themyscira is where young Diana Prince (Lilly Aspell ) lives among the Amazons with her mother Queen Hippolyta (Connie Nielsen) and her aunt Antiope (Robin Wright). Flash forward and Diana (Gal Gadot) has grown into a fearsome warrior in her own right. Diana’s world and the paradise of Themyscira is soon thrown into disarray by the arrival of Steve Trevor (Chris Pine), an American soldier whose plane crashes just offshore of Themyscira.

The most immediate thing is Themyscira looks amazing and leaves you wanting to spend more time in the world of the Amazons, even the background characters look amazing. The Amazons were made up from a selection of real life athletes.

After her brief but stark introduction to mankind Diana decides to help Steve Trevor on his mission to help the war effort, she’s also got her own motive. Diana thinks Ares, the god of war and the mythical enemy of the Amazons, is responsible for the war and ventures out from Themyscira to vanquish him.   So whilst Ludendorff (Danny Huston) and Dr Maru (Elena Anaya) might be the antagonists, there’s actually two stories playing out simultaneously, Trevor and Diana tackling the Germans for the war effort, and Diana trying to track down Ares.

For all the chatter about Gal Gadot’s casting as Diana being a bad move, there’s one thing that becomes immediately clear, Gal Gadot is great as Wonder Woman. Really great. Great in a Gal Gadot’s Wonder Woman will undoubtedly be to girls what Christopher Reeves’ Superman was to boys kind of way.

Wonder Woman is undeniably a box office smash and is currently at 92% fresh on Rotten Tomatoes, compare that to the 27% that Dawn of Justice has, or the 25% that Suicide Squad has, or Man of Steel at a somewhat better 55% .

It’s impossible to talk about Wonder Woman without talking about the context the film finds itself in though. One cinema’s ‘women only’ screenings proved incredibly popular ,selling out, but also provoking a backlash from those that thought it was somehow an affront to them. Wonder Woman is for the girls and the women out there who have been waiting, for decades in some cases, for this film. Disregarding the importance of this film ‘because girls have loads of historical figures as role models’ is seriously underestimating the power and influence of pop culture and representations within pop culture.  Things don’t happen in a vacuum.

One of the early impressive scenes shows to great effect how efficient the Amazons are as warriors as Themyscira finds itself under attack by soldiers that have tracked Steve Trevor. This is action executed in a visceral, engaging and visually impressive manner. Importantly though it’s Diana’s first introduction to the reality of war after many years of training just hearing stories. People get hurt, people die. This really highlights what makes Wonder Woman work where many other superhero films really haven’t, there’s a real sense of stakes to everything that happens. Things matter.

Wonder Woman utilises one of the most horrific times in recent human history, World War 1, to really give a sense of grounding and purpose to Diana. This isn’t a film where casualties are rendered in the abstract or where things are happening in conveniently evacuated or abandoned areas. The human cost of the war is there to see and for Diana, who grew up in a sheltered paradise, it’s a profound shock.

The BIG SCENE of Wonder Woman which is already the subject of much deserved praise is when upon arriving at the trenches of No Mans Land with Steve Trevor and his ragtag group of soldiers ,who are basically DC’s take on the Howling Commandos, Diana becomes determined to help a woman whose village has been overrun at the other side of No Mans Land. Ignoring Trevor’s protests she climbs from the trench and walks out into No Mans Land drawing the enemy fire and enabling the troops to rush the Germans. It’s incredibly powerful stuff. This whole scene could easily be a sequence of panels from a Wonder Woman comic come to life, it really sells the idea of what being superhero is about in a way that even Marvel Studios has struggled to do.

The depiction and use of Diana’s powers and abilities is handled really well too, with a less is more approach that still makes Diana seem worthy of the title of  Wonder Woman.

A film which is aimed at a young audience but has a story which centres around the horror of war and mankind’s inhumanity to each other is a pretty bold move, but even with this in mind it still comes across as a far lighter, more enjoyable and less oppressively grim film than Dawn of Justice for example.

Wonder Woman is definitely a superhero film, and definitely one of the better ones, it’s also the story of Steve Trevor and Diana Prince. One of the other things that this film highlights is how poorly relationships fare in other superhero films where girlfriends generally exist to be put in peril as a motivation for their superhero partners. Whilst a big part of the film’s narrative is building the relationship between Steve Trevor ,the soldier, and Diana Prince, the Amazonian, it gives both characters plenty to do. Both characters have their own arcs and nothing ever seems cheap or unearned.

There’s some great humour too, especially a scene with the pair on a boat headed to London and with Diana being perplexed at Steve’s gentlemanly decision to not sleep next to her.

Whilst Wonder Woman is definitely the best offering in the DC cinematic universe by far, like most superhero films it stumbles a little in its third act. This contrast is made more prominent by everything that went before being so good. Things aren’t as bad as the messy third acts of the previous DC films but there’s definitely an awkward contrast between fighting German soldiers to save people and the fight with Ares at the end.


Alien Covenant

After the Covenant, a colony ship with a cargo of 2,000 people in cryosleep and a cache of frozen embryos bound for a distant planet, encounters a solar flare the crew are awoken by ship synthetic Walter (Michael Fassbender) as part of an emergency protocol to deal with the damage. Shortly afterwards the ship stumbles upon a signal from a nearby habitable Earth like planet. Despite the protestations of Daniels (Katherine Waterson), this films Ripley character more on her later, Oram (Billy Crudup) ,acting ships captain and out of his depth after the ships captain was burned alive due to a cryopod failure, decides the Covenant should go investigate the newly discovered planet as a potential colony site.

Whilst Ridley Scott’s Alien was an atmospheric sci-fi horror venture, followed by James Cameron’s sci-fi action opus Aliens, this latest entry in the Alien franchise is a brooding gothic drama with some crudely bolted on Aliens action.

Alien Covenant is a profoundly frustrating affair. It might be called Alien Covenant but it’s undeniably a Prometheus sequel. Whilst Ridley Scott might be able to frame a good shot, things look pretty great throughout, the script from John Logan and Dante Harper is insultingly dumb in places. The crew of the Covenant actually make the crew of the Prometheus seem really intelligent. Which is saying something.

Prometheus was a distinctly flawed attempt to explain the origins of the ship (and the xenomorph) first encountered by the crew of the Nostromo on LV-426 in the original Alien film. One of the best parts of that film was the mystery of it and Prometheus (and Alien Covenant) demonstrate the danger of pulling back the curtain.

Prometheus introduced the Engineers, a race of giant humanoids that apparently created the human race, along with a deadly pathogen kept on the planet the crew of the Prometheus find. They are also the owners of that strangely shaped ship found by the crew of the Nostromo. Prometheus ended with the severely damaged synthetic David (Michael Fassbender) and last survivor of the Prometheus scientist Elizabeth Shaw (Noomi Rapace) heading out into the stars to find the Engineers homeworld looking for answers.

Anyone expecting any of those answers here will only be disappointed.

One of the most laughable aspects of Alien Covenant is that none of the events that happen would’ve happened if the crew of the Covenant actually remembered to wear space suits when going to explore a planet they have only just discovered. That a crew of people so spectacularly dumb are actually in charge of a colony ship, one with a cargo of 2,000 people in cryosleep, says something about how easy it must be to get a job as crew on a space ship with the responsibility of establishing a new colony for humanity.

This is just part of why Alien Covenant is so maddening and frustrating.

Another big part is these characters are utterly forgettable and also pretty unbelievable as actual people, that whole ‘truckers in space’ dialogue thing that worked so well in Ridley Scott’s Alien? There’s not really any of  that here.

There are three characters in this film that are in anyway interesting and two of them are played by the same actor. Michael Fassbender is, unsurprisingly, great playing the synthetic David (last seen in Prometheus) and Walter the synthetic who is part of the Covenant’s crew. The other character worth caring about is Danny McBride’s Tennessee, the stetson wearing, grizzled and rebellious member of the Covenant’s crew.

The landing squad from the Covenant soon find out to their horror that their new Eden is anything but as they discover David, stranded on the planet for a decade, has been busy playing god and wants to share his creations. David also reveals, after initially saying it was accident, that upon arrival at the planet, apparently the Engineers home world, he killed them all with the deadly pathogen last seen in Prometheus. The Engineers calcified bodies, frozen screaming out in anguish, now litter the area around where he lives.

Whilst this definitely sets a tone, it also means that the Engineers were only living in that one place on the planet that David now resides. Otherwise they would have undoubtedly retaliated in the years before the Covenant shows up. But in order for the first Alien film to happen there has to be an Engineer ship on LV-426 for the crew of the Nostromo to find, and it has to (in theory) have an Engineer on it in order for the ‘space jockey’ to be found along with the eggs.  Unless David is the ‘space jockey’ but that would mean he was somehow infected by a facehugger, which doesn’t really make sense since he’s synthetic not organic.  A parasite can’t survive without a host to feed off.

Fassbender basically carries this film, the interaction between David and Walter, an upgraded newer model of synthetic, is the best thing about this rather sorry mess.

Those questions you have about the Engineers, who are they, why did they create humanity, why did they create the deadly pathogen, why are their ships such a weird shape? Yeah, you’re not getting those answers here. The Engineers are it seems just a footnote in this story which establishes David as a Victor Frankenstein figure who created the xenomorph after years of experimenting with the pathogen on different organisms, and apparently just waiting for some humans to respond to his signal so he could have one of his facehuggers infect them and give birth to the first xenomorph. Which is exactly what happens.

That it happens in such a laughable way is just par for the course here, Oram, having just been given a guided tour of David’s creepy laboratory full of specimens he’s created with the Engineers pathogen, helpfully sticks his dumb face over an alien egg as it hatches.

The only thing resembling answers here are the indications that David decided to infect the crew of the Prometheus on his own, Walter makes a point of saying later models were changed because they were too human.  As David says at one point “Idle hands are the Devil’s play thing”.

If you’re thinking ‘What about the alien queen how does that fit in here?’ Good question. I have no idea.  Alien Covenant basically throws everything regarding the xenomorph as featured in Aliens into a woodchipper.

The worst thing about this venture is that Alien Covenant could’ve been considerably better with some competent writing. Having a team of people who fly through space for a living visiting a newly discovered planet who bring weapons in case they face a hostile threat, but don’t have intelligence to think there could be anything harmful in the atmosphere is appallingly sloppy writing. Profound stupidity is a major plot device here, the kind of thing you’d expect in a slasher horror film but without the sense of macabre fun. Unlike in Alien, where the crew are slowly killed by a vicious killing machine unlike anything they’ve ever seen whilst trapped in a claustrophobic environment, or Aliens, where the marines are killed because their superiors underestimate the threat they’re facing, here pretty much everyone dies due to their own stupidity because that’s what the plot demands.

The worst part is this happens in a film which is also trying to be intelligent whilst philosophising about the meaning of existence.  There’s a sense that this film really wants to be seen as intelligent science fiction like Arrival  but it really isn’t.

The third act is as predictable as it is underwhelming as it basically recycles beats from Aliens badly, but the worst part is you don’t care because the majority of these characters are ciphers, there’s no sense of stakes or dramatic tension   Another thing  the xenomorph only works when its utilised and shot properly, as seen in Alien and Aliens, which have entirely different approaches that both work brilliantly. Monster movie 101, less is more, a creepy thing hiding in the shadows is far more effective atmospherically than something in plain sight. This is especially true from a visual effects perspective. This film is seemingly entirely reliant on digital effects work for the xenomorphs and everything else and it really shows. The shift away from practical effects really, really stands out  and makes me realise that a man in a suit shot the right way still looks better than what’s on offer here.

Oh and one final point, Daniels is Alien Covenant’s Ripley, only without any of the qualities or characterisation that made Sigourney Weaver’s Ellen Ripley so memorable. Carrying a gun and shooting at a xenomorph does not make a character interesting,  if there’s no work done on building a character before that point then I have no interest in whether they live or die. There’s some weak attempt at portraying Daniels overcoming adversity after her partner the captain dies at the beginning and she ‘pulls herself together’ by the end but, like so much else here, it’s the bare minimum.   One of the things that really stands out though is how the default for the Ripley character seems to be casting a white actor. I find it really kind of mind boggling that Alien vs Predator, Paul Andersen’s somewhat unfairly maligned spin off (I think it works pretty well as a polished B movie) is thus far the only film to actually cast someone who isn’t white in the Ripley role – Sanaa Lathan is Alexa in Alien Vs Predator. Viewed through the prism of racial optics that’s pretty appalling really, especially when the usual bullshit excuse ‘POC aren’t marketable’ is irrelevant when a film’s cast is largely unknown and not really used in the marketing anyway.

Alien Covenant is basically just the latest in an unfathomable number of films that connect the dots as to why that Engineer ship was on LV-426 and why it had Alien eggs on it, there will inevitably be another Alien/Prometheus film to continue this saga but will anybody really care??






The Void


Whilst on a routine patrol officer Daniel Carter (Aaron Poole) stumbles upon an injured man (Evan Stern) staggering down a empty road. Carter rushes the injured man to a nearby rural hospital overseen by Dr. Richard Powell (Kenneth Welsh) and a small staff. Then Carter finds himself caught up in a mind shattering nightmare.

The Void from writer/director duo Jeremy Gillespie and Steve Kostanski, who crowdfunded the film’s special effects (more on that in a moment) but not it’s actual funding, is clearly inspired by 80’s films. John Carpenter’s The Thing and Stuart Gordon’s From Beyond especially. Other touch points include Clive Barker’s Lord of Illusions and John Carpenter’s In the Mouth of Madness which appeared in the mid 90’s.


Like Carpenter’s ‘Mouth of Madness The Void conveys the mind rending cosmic horror of Lovecraft, despite not being a direct adaptation of his work. Carter is the everyman character who finds himself trapped in an escalating situation which makes him question everything he sees and knows.

There’s an old adage of ‘show don’t tell’ and that runs through proceedings here. There’s very little in the way of exposition establishing anything. A brutal prologue sets the tone for things to come. Imagery, atmosphere and a refreshingly old school approach to special effects is a major part of The Void. Digital special effects might be the norm now but practical effects have an enduring appeal (even decades later Ray Harryhausen’s stop motion effects work like cinematic magic).  The plot might be a little incoherent and the characters a little generic but Gillespie and Kostanski are in their element when it comes to visuals, which are a feast of blood and body horror that’s like David Cronenberg dialled up to 11.







Videosyncratic by Jon Spira is several things in one, an autobiography of sorts, a brief history of film and the historical impact of home video, an interesting look into the inner workings of, and the rise and fall of, the video rental industry and an ode to the importance of independent businesses.

Depending on how old you are the idea of video shops will either bring about confused indifference or nostalgic memories of looking at rows and rows of video cases and trying to decide what to watch on a Friday night. Whilst it might seem strange now in the age of Netflix and streaming on demand but for a considerable amount of years video shops were a staple fixture on many high streets and this would be something that most families would be doing.

There were several video shops in my home town, although curiously never a Blockbuster, the nearest one was the next town over. On the one occasion I ventured there with a friend I was really rather taken by how awful it was, the stench of corporate homogeneity was overpowering both literally and metaphorically.

Spira, now a film maker himself, is an engaging and witty story teller as he tells the tale of how a film obsessed kid spent years working in various video shops, including a considerable amount of time in a variety of Blockbuster branches, before realising his dream of opening his own independent video shop.

Anybody who has ever spent any time working for a retail behemoth will find the frustrations of dealing with managerial stupidity and illogical corporately mandated policy in Blockbuster familiar, along with the selection of miscreants and psychopaths that make up both the staff and the customer base.

There’s a distinctly admirable element of David and Goliath as Spira goes about setting up his own video shop, whilst still working for Blockbuster, and actually being quite gleeful at the prospect of stealing their customer base. Not only that but he even steals many of the people he meets whilst working there for his own shop, a mix of film geeks and slackers, reminiscent of Jeff Anderson’s Randal Graves in Kevin Smith’s classic indie film Clerks.

One of the more surprising aspects though is the emotional punch as Spira talks about the reality of realising the industry he has spent years working in, and has now established a business in, is collapsing due to a combination of the advancement of technology and the actions of film studios.

Videosyncratic is rather funny but also sad, most of all though it’s a great read.  Reading it brought back memories of fiddling with the tracking on videos, watching the trailers, and the conversations you would have in the video shop about what you’ve seen.  A good video shop was a gift.

To quote Spira,

“Independent businesses, set up and operated because of the passion of the people who establish them, are beautiful, precious, and increasingly rare things and should be cherished. Every single purchase makes a difference.”





Justice League Trailer


The first trailer for the upcoming Justice League film is here and first impressions are that director Zack Snyder hasn’t learned anything from his previous divisive entries in the DC cinematic universe.

Whilst there’s definitely an initial thrill to be had when seeing the characters on screen for the first time, especially those that are gracing the big screen for the first time like Jason Momoa’s Aquaman and Ray Fisher’s Cyborg, this is quickly replaced by the realisation that this is seemingly yet another venture into the murky, dark and shadowy world of the Snyderverse, a place where the sun rarely shines, colours are distinctly muted at best and it’s hard to tell what’s going on.

This shouldn’t be confused with the Fincherverse, which whilst somewhat similar doesn’t feature superheroes, unless you’re one of those people that worships Tyler Durden.

To say DC and Warner Bros have a lot riding on Justice League is a distinct understatement, their entire cinematic universe output to date has been leading to Justice League. This is further compounded by their desperate attempt to catch up with rivals Marvel who are so far ahead of them they can barely see them on the horizon.


There’s definitely some good stuff here, I can see Jason Momoa’s Aquaman stealing the film, but the visual aesthetic seems really at odds with antics of the premier team of superheroes from one of the biggest publishers in American comics. The thing that really stands out is how the character moments seem really good, “What are your superpowers again?” asks Ezra Miller’s Barry Allen for Ben Affleck’s Bruce Wayne to respond “I’m Rich”. There’s a sense (and a hope) that the writing might actually be better and have more warmth and humour to it but the actual glimpses of characters using their powers to fight whatever they’re fighting seem like a dingy depressing cartoon of digital FX nonsense, much like the climax of Batman v Superman: Dawn of Justice.

This shouldn’t be in anyway surprising because why fix something when the box office tells you it isn’t broken, for all the arguments they caused and the mixed critical responses for both Man of Steel and Batman V Superman Dawn Of Justice definitely brought in the big money.

One of the things that does stand out pretty badly is Ray Fisher’s Cyborg, who seems like he could be in a cutscene from a PS3 game.  There’s definitely a sense that Cyborg would’ve looked far better as a digitally enhanced prosthetic suit rather than what seems to be  a digital suit mapped onto Fisher’s body.


I should emphasise that Dawn of Justice really was pretty awful, the only good thing about it was introducing Gal Gadot’s Wonder Woman. Wonder Woman from director Patty Jenkins, set for release in June, looks like the best cinematic offering based on a DC character in years. The difference in aesthetic between Wonder Woman’s latest trailer and this one is quite staggering really.

There’s still little in the way of exactly how the Justice League film will work because it has a lot of pieces to move around, with the Justice League themselves and several other characters in the mix like Amber Heard’s Mera, Connie Nielsen’s Queen Hippolyta, Amy Adams’ Lois Lane and more besides.

One of the things which will really impact on whether Justice League lives up to its potential is how it utilises its numerous characters, if it ends up being just a case of Batman or Superman saving the day then that will be a massive disservice to the other characters.





2000AD is a potential treasure trove for gamers

News came out of the 40 Years Of Thrill Power Festival that Rebellion, 2000AD’s owner, is opening up some of their properties for development by games companies.  There have been a few licensed games featuring 2000AD’s characters ,mainly Judge Dredd, with the first appearing way back in the late 80’s. More recently Judge Dredd featured in Dredd vs Death and Rogue Trooper, one of 2000AD’s other popular characters, featured in his own game .

Saying the news of Rebellions intention to licence their properties has immense potential is a major understatement.


One of the most obvious would be a game set in the world of Judge Dredd in the vein of Rocksteady’s Arkham games featuring Batman. This could have endless potential, a vast interesting world even if it’s restricted to Mega City One, and a vast amount of interesting characters and decades of mythology to mine. Judge Dredd has featured in 2000AD since 1977, that’s decades of stories to work from and then there’s the Judge Dredd Megazine which has been in publication since 1990.


Whilst there will inevitably will be scores of fans that want to play as Dredd himself there could be more potential in players taking the role of a rookie Judge just hitting the streets of the Big Meg. For a start this could open up the ability to choose whether you want to be a male or female Judge even if it has no real impact on the game itself being able to choose the gender of the character you play as is a big deal . This is something that is generally lacking in most games that default to a male character. This would also allow for unlocking skills, equipment and abilities as players progress through the game which would make more sense for a rookie Judge than for a character like Dredd who is a veteran Judge.


The main story could feature numerous characters Dredd and Judge Anderson are just the most obvious. Optional side missions could feature characters like Chopper and PJ Maybe. Beyond that there could be DLC for the Cursed Earth, East Meg One, Hondo City. There’s immense potential just in a Judge Dredd game and that’s just one character and world out of many that 2000AD/Rebellion owns.


Other pretty obvious ideas for use of licenses would be Slaine as an RPG in the vein of Skyrim, Rogue Trooper as a third person shooter for the current generation and less likely but just as merit worthy would be using Durham Red as the basis for a Mass Effect style game set in the far future. These are just a handful of the characters Rebellion currently owns and the most obvious gaming adaptations using previous games as blueprints,  all that’s needed is a good developer that doesn’t churn them out as a half arsed cash in.








Hoshino – A Star Wars Story


I’ve never been a massive Star Wars fan. That’s the kind of statement that’s treated like the black speech of Mordor by many. Whilst I’ll happily watch it when it’s inevitably on TV over the Christmas period I wasn’t one of the people rushing out to see The Force Awakens. When I did see it I wasn’t overly impressed. Having said that Rogue One looks considerably better on every level.

Then I stumbled upon Hoshino, a short film from director/producer/editor Stephen Vitale and writer Eric Carrasco. Hoshino tells the story of blind Jedi Ko Hoshino ,played by Anna Akanna, and her tutor Master Jaan-Xu played by Tim McKernan.

What really caught my eye about Vitale’s film was not only its polished production values and impressive looking FX work but its story. Hoshino takes the idea of the blind samurai, something most notably found in Japan’s Zatoichi films and then later in Western culture like American Zatoichi remake Blind Fury, Dare Devil’s Stick and even in long running beat ’em up game series Mortal Kombat’s Kenshi, and applies it to Star Wars in a brilliant way.

Despite a running time of just several minutes Hoshino works on various levels but especially as a tale of strength in the face of adversity. Also we should be in an age where a Jedi being a woman, a woman who isn’t white at that, shouldn’t be a notable thing but we’re not there culturally so it matters.





Exploring the new frontier


HBO’s latest big venture Westworld arrived recently. Based on the 70’s film written and directed by Michael Crichton (and featuring Yul Brynner in a memorable role as a robot cowboy gone haywire).

Westworld was in the media spotlight long before its first episode aired after a contract for extras was highlighted for being rather creepy now it’s in the spotlight again with stars defending things seen in the premiere episode.

Set at some point in the future Westworld is a vast theme park of sorts which represents an Old West town and the surrounding area. The park is populated by incredibly lifelike robots/synthetic beings called Hosts. Westworld is the creation of Dr Robert Ford (Anthony Hopkins). The series introduces various characters, some are people that work for Westworld in some capacity like Bernard Lowe (Jeffrey Wright) one of the technicians that works on the Hosts that populate the park, some are Hosts like Dolores (Evan Rachel Wood), Maeve (Thandie Newton) and Teddy (James Marsden), whilst others are patrons of the park like The Man in Black (Ed Harris) and his polar opposite William (Jimmi Simpson). These are just some of the characters that feature.


Visitors ,called Guests, are free to live out any desire they have with no judgement or consequence. The Hosts exist to accommodate their desires, whether this is being a brutal sadistic murderer, a violent rapist or something else. The Hosts though have no memory of what they are subjected to due to being wiped, monitored and recalibrated as necessary by the the parks technicians. Also Hosts generally speaking can’t harm Guest ,though they might attempt to, because their guns don’t fire real bullets. This enables Guests to engage in the thrill of a gun fight with no risk of real injury.

The various Hosts in the park are all playing a part in numerous overlapping looping narratives which the Guests can take part in. Once the narrative loop comes to an end it restarts with the Hosts involved completely oblivious to having done the same thing numerous times.

The first episode, and indeed the series as a whole, has more than a little in common with Charlie Brooker’s acclaimed series Black Mirror given that it deals with the darker uses of technology and how they impact people and society, Dolores’ story is a prime example. Dolores is part of a narrative loop involving Teddy but The Man in Black it turns out has been taking part in this loop for years. Each time it culminates in Teddy being killed in some way by The Man in Black and Dolores being brutalised and raped by him, the screaming Dolores being dragged off by her hair into a barn before the door slams ominously shut behind her.


Only Dolores isn’t being brutally raped in the context of the world presented here because Dolores isn’t a person with rights or bodily autonomy. Dolores is a thing. A synthetic person subject to the whims of the parks Guests. The problem with this is the presentation to the viewers at home is exactly the same because Hosts by definition look exactly like real people. This is basically rape by proxy. More than that it suffers from familiar problems that usually arise when sexual assault or rape features in a TV show, deferred consequence for the transgressor to build dramatic tension and deliver catharsis at a later date and glossing over the aftermath for the victim.

The first episode ,which focusses primarily on Dolores’ loop, ends with her naked in the technicians lab (for some unexplained reason Hosts are always naked in the lab when taken for diagnostic maintenance) looking glassy eyed into the camera as engineers question her in a diagnostic mode. This visual is powerful because the viewer has the burden of knowledge of what Dolores has been subjected to repeatedly even if she doesn’t and the Westworld employees are completely indifferent to the suffering.

The long play for Westworld is the Hosts through something in their latest software update (possibly intentional on Ford’s part) is leading them to actually gain full awareness remembering all the horrific things they’ve been subjected to by the Guests over the years via flashbacks and dream like hallucinatory episodes. Dolores it’s revealed is the oldest of the Hosts in the park and is it seems being set up as the leader of the Hosts rebellion against their human oppressors, whilst Maeve, who in episode 2 “wakes up” whilst in the lab, is set to play a big part too.


Whilst this undeniably fertile ground for an interesting multi-layered character drama it’s yet another example of relying on the well worn plot device of women’s sexual assault, rape and trauma being utilised as a catalyst for revenge and empowerment. This was the basis of I Spit on Your Grave back in 1978 and I’m sure it wasn’t the first example. You can’t help but think writers seem to not know how to write empowered women in TV drama without their empowerment being the by product of some man’s malevolent transgression.

The idea that Westworld employees are seperated into different departments, with animosity between the workers of different departments, is prime for exploration as one of the most looming questions about Westworld is how does the place function? Does it have opening hours like a normal theme park? How many departments are there? How do they repair the Hosts damaged by Guests? Are there any animals besides the synthetic horses? Why would anybody take their children to Westworld? Why are there no child Hosts? How do the visitors function outside of the park where they have to revert to behaving in a normal civilised manner? How do the people that work at Westworld function in the real world? Those are just a handful of questions Westworld prompts.

A big part of Westworld is the idea that the only difference between modern, or in this case future, society and the savage primordial past is the thin veneer of civilisation, something which can be stripped away easily given the right circumstance. Swedish series Akta Manniskor explored the same themes regarding technology, A.I and the impact it has on society in a much more grounded manner, the series was remade in English as Humans which changed the story and some characters.








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