Posts Tagged sci-fi

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Quick Comic Rewind: Grimjack #10

by on May 17, 2018 at 12:44 am
Posted In: Homepage, Scott

Before I get to the comic, I just want to take a moment to talk about my comic shop. Librarie Astro is a used bookstore on St. Catherine street in downtown Montreal, but they also had a good stash of comics and a great staff for handling pull lists. They’ve been my comic shop since 1996, and I learned not too long ago that they will be closing up in the summer due to issues renegotiating their lease with the new building owner.

This news hit me pretty hard. Over two decades of going there, it’s been an island of stability in my life. Whatever schooling or job, I’ve always had comics waiting for me there on Wednesdays. I’m really gonna miss that place, and Quick Comics rewind owes Astro’s many back-issue sales it’s existence.

Grimjack #10, published by First Comics in 1985, and written by John Ostrander with art by Timothy Truman. Ostrander is probably best known for his work on DC’s “Suicide Squad”, while Truman would work as an artist and writer on books like Johna Hex, Turok and Conan, along with a bunch of Star Wars titles.

The plot is pretty straightforward. Grimjack is a pan-dimensional bounty hunter, a gritty gunslinger who’s short on words in a wild-west world. He’s there to catch a weapons dealer who has been smuggling future hardware, Uzis and assault rifles, into the west. He finds her, a femme-fatale with a bad attitude named Spook. Running afoul of a crooked sheriff and an evil businessman, They get captured together. They escape, hijacking a train with everyone hot on their tail.

The plotting is not high art. The script is just as… Grimjack.

Truman is just as rough on art duties. In the opening pages, Grimjack is shown holding a rifle, then it disappears so he can quickly draw a pistol to show how badass he is. I guess he dropped the rifle he was holding so he could surprise the bad guys with a smaller gun? I dunno. The anatomy is all over the place as well. But the grit? The grit per square inch is off the charts. We’re talking Lenil Yu levels of face lines here. It’s sandpaper.

This book is bad, but it’s 1985, and it’s a step towards the great books of 1986. It’s dark, it’s adult, and in that way, it is showing that comics can be more. But it’s also a small stem, appealing to the 15-year-old in place of the 10-year-old who wants X-Men and Teen Titans. A few years from now, DC will toss Jonah Hex to Truman, and it’ll be this great space cowboy book, and Grimjack comes close here, but this issue just isn’t made for anyone but teens in the 80’s. I had a hard time getting through this one issue, so it shocked me to find out that Grimjack lasted many years and had over eighty issues, plus a web-comic revival in the 2000s.

 

–Scott is a writer and founder at 9to5. He’s a host on The 9to5 Entertainment System and does a lot of the graphic design around these parts.

–Quick Comic Rewind is brought to you monthly through the love of our supporters on Patreon. If you’d like to join them in helping us out, please visit www.patreon.com/9to5cc and be sure to check out how your donations help us out and get access to additional bonus content from the 9to5 crew.

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Movie Review: This Giant Papier Mache Boulder is Actually Really Heavy

by on January 7, 2018 at 11:11 am
Posted In: Blogs, Homepage, Movies, Scott

This Giant Papier Mache Boulder is Actually Really Heavy asks the question:

What ever happened to the good old days of sci-fi — when spaceships were real models, monsters were made of latex, and laser guns were just curling irons painted silver?

And the answer is a fun romp through science-fiction, camp and b-movie films.

Or is it?

Here’s the synopsis from their site:

For three ordinary guys Tom, Jeffrey and Gavin, this just became a reality. One minute they were watching an old b-grade movie, the next they’ve been thrust inside the movie itself and at the helm of a rickety old spaceship. Panic ridden they stumble into a space battle. and make a mortal enemy of the evil Lord Froth while unwittingly saving the space princess Lady Emmanor. Then suddenly Jeffrey starts to change into a sci-fi character called Kasimir. They must adapt quickly if they are to survive long enough to find a way home. For all they know they could be next. If that happens they will be lost in this world forever. They embark on a quest to find a cure for Jeffrey and a way back home. This is an action-packed comedy adventure of giant lizards, space battles, robots, aliens, warlords and amazons that has to be seen to be believed.

All of this is true. This Giant Papier Mache Boulder is Actually Really Heavy delivers on its promise of a tongue-in-cheek look back at the drive-in campy classics and, on the surface, pokes fun at the tropes and delivers a resolution that fits in with the plot. The acting is not terrible, as the cast is asked to swing from the real-world to the over the top genre-speak of bad-sci-fi.

That being said, This Giant Papier Mache Boulder is Actually Really Heavy is a deeply flawed movie. I don’t mean the production values, as many of the sets, props and costumes are bad “on purpose”. (Though I would have cheered if someone from hair and makeup would have brushed Christian Nicolson’s hair out of his face.) The writing is flawed.

Spoilers ahead, as some plot points will need a deeper examination to explain my disdain for them.

Every woman in the film appears as a sexual conquest to be won or a reward for the male heroes’ development. Every single one.

It would have been one thing is this only happened inside the Oz-like world of Space Warriors in Space, the b-movie they’re sucked into. But this also happens to the women in the “real world”. They’re leered at on the convention floor. Both Gavin and Tom make comments about the cosplayers dressed as Amazons. Getting with Emma is the main plot for Tom, even if he is distracted by the actual Amazons who capture him and threaten him with either torture or pleasure.

 

It was gross and turned me on the protagonists, who act in this way without any ramifications or development, and the women in the film achieve nothing more than gifting themselves to the men once the guys achieve a certain level of confidence. Tom wins Emma! Yay.

There are also a series of gay jokes peppered through the movie. From an awkward fall where one guy lands on another guys’ back (lolz i guess?) to the entire character of Bruce, played by Jarred Tito, is a dated, inappropriate prancing fop whose over-exaggerated gay stereotypes are played for laughs and the result is cringy-er than it sounds.

As well, and this is admittedly a smaller deal, but for some reason this movie sees fit to mock sci-fi and genre fans at every chance it gets. Everyone at the convention is a poorly costumed mega-nerd lacking in any social skills. Jeffrey is treated as pitiable because of his fandom, and Gavin is deeply ashamed of his. Tom points out that he doesn’t care for sci-fi several times, and it is this character trait that of course makes him the hero of the piece, as on fans are affected by the mind-altering powers of the world they’re in.

Who is this movie for? People who want to win women, think gay guys are funny, and laugh at nerds?

I was into this movie when I was watching it, but once everything was over and the credits were rolling, I was left feeling like I’d eaten too much Burger King. Sure, it was okay going down, but now it’s just sitting there like lead.

This Giant Papier Mache Boulder is Actually Really Heavy opens in USA Jan 19th 2018.

–Scott is a writer and founder at 9to5. He’s a host on The 9to5 Entertainment System and does a lot of the graphic design around these parts.

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Let’s Go See A Movie: Blade Runner 2049

by on October 13, 2017 at 8:00 am
Posted In: Homepage, Jon, Jon's Junk, Movies

If you’re into movies, into film as an art, then Blade Runner 2049 is on your list.

It’s easy to understand why.  The original, Ridley Scott’s 1982 neo-noir sci-fi masterpiece, has divided critics and audiences for decades.  Upon release the film was considered a failure, derided for its Weinsteinian romance, impenetrable themes and bizarre ending.  Blade Runner might have ended there.  After a staggering 7 versions of the film, we can actually be sure that Blade Runner divides multiple genres of film into pre- and post-Blade Runner eras.  The film is one of the true greats.

Meanwhile, Dennis Villeneuve directs Blade Runner 2049, the 35 years delayed sequel.  He’s been a director to watch, not because of Arrival, which while stately and beautiful was kind of shallow and tedious, but because of Enemy.  Enemy is a patient, haunting character study of two Jake Gyllenhaals and their relationships with woman, with themselves, and with the giant space spiders inhabiting Toronto.  Am I kidding?  The themes and tones translate perfectly into the Blade Runner scape.  Villeneuve’s patience, attention to detail and interest in identity themes make him a perfect fit.

A half hour into Blade Runner 2049 I exhaled relief: they did not fuck this up.  Not only that, Villeneuve has the confidence and audacity to do even better: 2049 isn’t a sequel to Blade Runner, it’s a sequel to an excision of the best parts of Blade Runner.  He elevates the artistic intent of the original.  I want to explain more, but to do so would be to reveal a crucial element of the plot which is best preserved mysterious.  I’m ecstatic to write this.  I want to go see it again, right now.

That said, the film will have a place in history as a work of art, rather than as a Hollywood blockbuster.  This is a slow burn, high concept examination of what it means to be alive, what consciousness really means, how memories do and do not create our reality.  The visuals are jaw-dropping.  Get ready for long sensuous shots, soaking in the rain and ash of a post environmental megacity.  Every inch of it rusting, dripping, decomposing, and crumbling to a score based on and transcending a Vangelis core.  Get ready for even longer shots of Ryan Gosling’s face soaked in Refnesque oranges and blues.  From start to finish the movie is a visual feast.  The apes sitting next to me were squirming in their seats for the last 45 minutes of the film’s nearly 3 hour run time.

There are a few minor problems.  An uncharacteristically ordinary performance by Robin Wright (was it the script? needs a rewatch), and Jared Leto’s bizarre character never really seems to find a conclusion.  These are small and forgivable flaws in an otherwise incredible production.  I do have one major complaint, which contains a spoiler, and I will place it below the next paragraph.  Regardless, Gosling delivers intensity while remaining the tabula rasa needed for the character’s role.  This is especially great because he’s in front of the camera for so very much of the movie.  Harrison Ford’s reprise of Deckard actually builds on both the legacy and performance from the first film, his finest work in years; a compelling performance which does not rely on the stupid lovable scamp hat that he wore for much of his career.

Blade Runner 2049 is visually stunning, neo-noir dystopian sci-fi epic crafted with love by people with talent.  Cinema isn’t just a vehicle for tits and ass and explosions and great movies are achievements of technology and talent and creativity and they can address the subconscious (and conscious!) fears of our society directly, and Blade Runner 2049 is one of those great movies.  What a triumph.  Final thought: the long rumored Dune remake is desperate for Villeneuve’s skilled hands.

Bless the Maker and His water, by His passage may the world be cleansed.

 

The one gripe (spoilers ahead): Gosling’s K is pursued/observed throughout the film by Sylvia Hoeks’ Luv. Their relationship builds carefully and in their final battle K is victorious. Why the fuck didn’t Luv get a “tears in rain” moment? It would have connected the films and tied the chases and given her character some much needed pathos. What the fuck man?

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Tuesday’s Coming: The Top 10 Films of 1988

by on March 2, 2015 at 6:13 pm
Posted In: Blogs, Homepage, Movies, Tuesday's Coming, VAGRANTS

In continuing with my ongoing revisiting of past years in the world of cinema, I will now explore the year 1988, which was the first year suggested to me by a reader after last week’s post. If you want to pick the year I’m doing next, tweet at me!

Art

Art

THE TOP 10 FILMS OF 1988

#10: Fright Night II
In the first and only sequel on this list, we praise the incredible follow-up to 1985’s Fright Night, which picks up precisely 3 years later. How fitting! In this one, Roddy McDowall exits a psychiatric hospital convinced that vampires don’t exist, and then discovers a bunch of vampires. A slam dunk on all fronts.

#9: Brain Damage
A man wakes up one day with a weird tumour on his head. Wait, no, that’s not a tumour, it’s a living parasite named Aylmer! And it’s gonna feed him hallucinogens via his brain, and he’s gonna get addicted to them! What’s that? Aylmer demands human victims? He’s not gonna actually kill people, is he? Oh, he is? Tons of people? Cool.

#8: Young Einstein
Shane Adamczak co-stars in this absolutely spot-on re-imagining of Albert Einstein’s life, in which the genius invents both rock n’ roll AND surfing, and goes on to save the world from Charles Darwin, whose incompetence nearly causes a nuclear reactor to blow up. This film, of course, is best known for being the launchpad to Yahoo Serious‘ career.

#7: My Stepmother is an Alien
Dan Aykroyd is a widower in search of love, whose main occupation is a series of attempts at communicating with other life forms in outer space. One day, Kim Basinger falls from the sky and seduces him. 48 hours later, they are married. Basinger then attempts to learn inter-stellar communication secrets from Aykroyd, while trying to hide her alien nature. Hilarious “I don’t know what human behaviour is” gags ensue! Meanwhile, tiny Alyson Hannigan and tiny Seth Green go on a date! A 5-star family film.

#6: Cocktail
Tom Cruise, smug jerk, charms all the ladies and mixes a few drinks. A feast for the eyes, a vicarious feast for the mouth.

#5: Buster
Before fully engaging in his mildly successful career as a musician, Phil Collins had an incredible run as an actor, highlighted by his performance in this film. Collins stars as Buster, a petty thief who forms a gang and robs a train, and then escapes to Mexico with his wife with all their winnings. Unfortunately, his wife hates the beach – the tension is palpable. Whatever will become of them? You’ll have to see it to find out!

#4: Funny Farm
Chevy Chase, a New York sports writer, moves to a small town with his wife in order to write a novel. All is well until the townspeople begin imposing endless bills on the two newest residents, trying to chase them away, and forcing Chase and his wife to put their house back on the market. However, after a while, Chase decides that the small town life is fine by him, and pays every resident 50$ to let his family live in peace. A delightful romp, by all standards.

#3: License to Drive
Corey Haim and Corey Feldman fuck up a Cadillac. Need I say more?

#2: Purple People Eater
I’ve always wondered why hit novelty songs don’t get turned into movies. Take this film as a prime example of why it should be done more often! A young Neil Patrick Harris stars as an animal-loving outcast who is forced to spend the summer with his grandfather, whose escalating rent is causing him stress. One day, a one-eyed, one-horned Giant Purple People Eater falls from the sky, and searches for a rock band to join. He & Harris hold auditions, form a band with other children, and raise money for grampa. Absolute gold.

#1: Tapeheads
Inspiring a generation of future filmmakers, Tapehead pits John Cusack and Tim Robbins against THE WORLD, as they try to follow their artistic vision and make really cool music videos. Meanwhile, somebody sneaks an incriminating video of a high-ranking politican into their personal vaults, causing the FBI to storm their studios, to the great surprise (and trauma) of both gentlemen. How will they deal with this pickle? Will their music video-making career survive? So many questions, so brilliantly answered. An easy pick for the top of the crop of 1988.

[youtube http://www.youtube.com/watch?v=o9dBiw7xfVU&w=420&h=315]

An honourable mention goes to Earth Girls Are Easy, because why not.

-Al

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Fantasia Movie Review: Bounty Killer

by on July 24, 2013 at 10:38 pm
Posted In: Fantasia, Movies, Scott, Summer Festivals

diff_bountykiller-posterBounty Killer
Director: Henry Saine

Post-apocalyptic action movies are abundant in this day and age, from Terminator: Rise of the Machines to Death Race, it’s not hard to find one if you’re a fan of the genre. It can, however, be tough to find a good one. One that blends action with solid characterization and a narrative that makes sense from start to finish. One like Henry Saine’s “Bounty Killer“.

Sophie and I went to see Bounty Killer yesterday, and we both felt that it was a triumph of the genre film, gory action, and fun action.

Scott: I wanna start off by saying that this was a great action movie, and I can’t wait for it’s general release because I want to see it again. This is gonna be one movie that I’ll pick up on BluRay to add to my collection.

Soph: Yeah i feel the same. This was the perfect movie to see with some buddies, yelling and cheering at the screen.

Scott: The Fantasia crowd certainly didn’t hurt. Everyone was into the movie in the theatre.

So the roots of Bounty Killer start in two of my favorite places; the internet and comic books. Jason Dodson and Henry Saine started a Kickstarter project to fund the release of the Bounty Killer graphic novel.

From there, they went on to make a short film, which led to the production of the full length feature. One thing that I did like about the feature film was the use of animation. The art was slick and stylized, but also helped to set the tone for the movie; a fun, blood splattering romp through a war-blasted world. ↓ Read the rest of this entry…

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Fantasia Movie Review: Vessel

by on July 19, 2013 at 7:26 pm
Posted In: Fantasia, Movies, Scott, Summer Festivals

“Vessel” is playing July 28, 5:35 PM at the J.A. De Seve Theatre.

poster3Directed by Adam Ciancio, who also wrote the screenplay, Vessel is a science fiction movie that examines the human cost of being the protagonist in a shared universe.

Okay, the plot. Ash (played by Marc Diaco) has been receiving messages from aliens, directly into his mind, since he was a young child. He has been mandated to pass on the messages he receives to a government handler, in secret, and then go on with his life. But the years of this otherworldly task have taken their toll on Ash, and he’s beginning to feel himself slip away. He’s blacking out, he’s lost his sense of taste, and now he’s losing his ability to feel emotions. At what point does does his life outweigh his humanity? Ash now has to decide what to do, and try and chase down the last hope of saving himself before it’s too late.

That’s the short of it, without getting to spoiler-y.

Okay, a few things about this movie before getting you too excited about it. It is a character study. Ash is in every scene of the movie, and you’re going to watch him wrestle with his issues for the whole of the movie. The movie is very deliberately paced, and it takes all the time it needs to get where it’s going. The acting in the movie is dramatic, serious, and grabs that one emotional chord and hits it again and again in a driving dirge of angst and worry.

Despite all of this, and because of all this, it was a great film.

Ash comes across perfectly as a man who may be carrying the weight of the world on his shoulders, or may have just lost his mind. The acting by Diaco is so pitch-perfect that he keeps the viewer walking that line with him from start to finish. ↓ Read the rest of this entry…

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Netflix Movie Review – 2012: Ice Age

by on July 16, 2013 at 10:35 pm
Posted In: Movies, Scott

I’m continuing my series of film reviews for movies that are available on Netflix Canada. I watch a lot of it since I’ve signed up, and I’ll share my thoughts here.

2012: Ice Age, directed by Travis Fort continues the long line of movies that are made to capitalize on another movies marketing expenditures by making a similar film, but with a fraction of the budget. Much like Asteroid, which was released following Armageddon and Deep Impact, 2012: Ice Age tries to cozy itself up to 2012 (the one with John Cusack) and The Day After Tomorrow (the one with Jake Gyllenhaal). It’s main failing, I suppose, is that it didn’t cast a lead actor with an equally famous sister.

I’m kidding. It’s main failing was it’s plot, casting, acting, budget, and special effects.

Seriously gang, this movie is bad. I watching from end to end, and it never paid off. I mean, this movie is in the same category as The Beast (William Peterson vs a giant squid, by the way, is only a little bit better because of his stint on CSI).

2012: Ice Age’s plot is that a series of volcanoes in the north Atlantic dislodge a giant glacier from, I dunno, Greenland I guess, and send it racing down the eastern seaboard at two-hundred miles an hour, destroying everything in it’s path. A scientist (is he a geologist? A meteorologist? It’s never clearly explained…) races to save his family by taking them from Maine to New York and ultimately… New Jersey.

As he’s driving, Boston is destroyed. The United States tries to obliterate the glacier with nuclear weapons, they fail, and millions more die. Off camera, of course.

It also snows a lot because glaciers are made of ice, so a glacier racing around in the summer would make it snow. Bill Nye’s tears made up a large percentage of the ice in this giant evil glacier. A good 75% of this film is obscured by computer generated snow falling in front of the screen, and the film demonstrates how impossibly cold it is outside by having one actor wear a toque. The rest of them don’t even do up their coats. 

Ugh, I can’t even go on. Here’s the trailer:

Do not be fooled, the trailer is exciting and campy. This movie is neither. It is ripe for riff-trax/mst3k. I give it 0.5 Robot Jox’s out of 5.

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