Saturday, 3 December 2022

Access All Areas – Documentary Review

 

Originally published on Set The Tape


Disability often feels like one of the most overlooked areas of our lives. It’s estimated that 15% of the world’s population is currently disabled, and thanks to people living longer, new diseases ravaging the world, and survivability increasing, those numbers are likely to rise. More and more people are becoming disabled because we’re able to survive previously life-ending accidents and conditions that result in a person becoming disabled. Yet despite disability being so prevalent, it’s incredibly overlooked.

Every single person on the planet has the capacity to become disabled. You could wake up tomorrow disabled. All it takes is one bad day, and your life will change forever. Just getting older can lead to you becoming disabled. But it’s something that people just don’t think about; you don’t consider what your life would be like if it were to suddenly change like that. I didn’t before I became disabled.

Access All Areas tells the story of Simon Sansome, a regular guy living in the Leicester area. We learn a little about Simon’s past, about him growing up and experiencing some difficulties with reading in school, and how he worked hard to overcome that. Later in life he ended up meeting the love of his life, Kate, via a dating app after she was drawn to his profile picture of his head on Captain Kirk’s body. After a whirlwind romance, the two of them were married, and were planning a new life together. But just a month into their marriage, as they were getting ready to go on their honeymoon, everything changed.

After visiting a chiropractor for a painful back injury, Simon was left in excruciating pain after hearing a loud crunching sound during the session. He was sent home, where his wife had to drive him due to him collapsing, and he believed that it was just pain from an intense session and decided to sleep it off. When he woke the next morning he had no feeling in his legs, and couldn’t move. Simon was paralysed from the waist down, and his life was forever altered.



In their own words, Simon and Kate tell the story of Simon’s long road to recovering from his injury; of learning that he would never walk again, and having to form a new life. After Simon is essentially fired from his job on false charges, he and Kate face the prospect of losing their home, and this sets Simon onto a new path, one where he learns to fight against disability discrimination. Over the years since, Simon has gone on to become one of the most celebrated disability activists in the UK, even having taken on Facebook in a globally reported on news story.

The words ‘inspiring’ often get thrown around when people talk about the disabled community. We get told that we’re inspiring for doing perfectly average things, that our existing whilst disabled is enough to ‘inspire’ others. It can be quite demeaning and insulting, so it’s with the utmost respect that I have to say Simon’s story is inspirational, but not because he’s disabled. Simon is a man who overcomes things, as the look into his past and him fighting against his dyslexia shows. He took his former employer to court after having charges of gross misconduct sprung upon him in an attempt to get rid of him (again, something which I have experienced and know how awful it is). But rather than accepting it, he fought against it.

Simon was facing another life shattering moment, something that could spell disaster for him and Kate, and rather than letting the fear and the worry stop him, he dove into action. That passion is seen again later in his story when his newly formed disability support group was removed from Facebook because, as one of their employees told him “Seeing disabled people on Facebook disturbs people”. Instead of letting it lie, he took the story to the press, which saw Facebook held to account across the globe. Simon is an inspiring person because of his passion, his sense of doing the right thing, and his drive to make the world a more just place, and that comes across in spades in this film.

Perhaps the one aspect of the film that doesn’t quite work, however, are the moments of dramatisation. Simon and Kate are incredibly engaging when they’re telling their story, so when the film cuts to actors who look very little like them, recreating scenes that we’ve already had the two of them tell us about, it feels slightly out of place. It also doesn’t help that the story is set in Leicester (a place just a few minutes down the road from me), and the re-enactments are very clearly not Leicester. The fake Simon visits the University, and it looks nothing like it, and in one scene you can even see what looks like the sea in the background – and Leicester is very much not near the sea. It’s a small thing, and one that most people probably wouldn’t notice or care about, but as someone in the same area it did disengage me from the movie a couple of times. I would have found the film perfectly decent without these segments.

Simon Sansome is an incredibly interesting man, and the things he’s done with his life are worthy of notice and attention. More needs to be done for disability rights and awareness, from simple things like all shops and restaurants being made accessible (which most are not), to there being no marriage equality for disabled people. Simon is doing incredible work, and knowing his story makes me feel like there’s a chance that things could be getting better. And the fact that he’s such an amazing guy living close to me was pretty cool too.



Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Friday, 2 December 2022

Batman #129 - Comic Review

 

Originally published on Patreon


Last issue the Justice League came to Gotham to try and help out Batman with Failsafe, the highly dangerous robot designed to eliminate Batman if he ever crossed the line and became a killer. And things did not go well for the League. With Failsafe having set traps across the city, it was able to take out every hero without much effort, and an injured Batman was forced to flee the city. Having hidden in Atlantis for a chance to heal, Gotham has been take over by Failsafe.

This issue begins with Bruce looking on as Gotham descends into chaos. Failsafe doesn't care about the city beyond using it to lure Batman out, so allows it to turn into a lawless hellhole where people will suffer, knowing that it will bring the hero to him. But Bruce can't afford to go to Failsafe, and instead banks on the robot coming to him.

When the robot storms Atlantis, looking for Batman, it ends up following its creator to the Justice League Watchtower, where the two of them engage in a dangerous game of cat and mouse that results in Batman floating in space with no hopes for a rescue. 

This story is one of the wildest Batman stories I've read for a while. It's not a detective story, it's Batman meets The Terminator, and I honestly love it. We're all so used to seeing Batman as the hero who's always got a plan, who always knows what to do in any given situation. Every 'could Batman beat this hero' conversation seems to rely on the idea that if gen time to prepare he could beat anyone. But now that's been reversed on him, and all he can do is react in the moment, and maybe plan a move ahead at best.

The result is a Batman more desperate, more beaten down, than we've seen in a while. And whilst a Batman at the end of his rope isn't a new thing it does feel kind of fresh and new because I don't think we've really had him being chased all over the world (and beyond) by a robot before. It's a fairly ridiculous situation, and it feels too silly to work, but the writing makes it feel real, and it's an incredibly exciting scenario.

I can maybe see a way for Batman to get out of his situation of being stuck in space, there are heroes that can get to him and save him for example, but I don't know how he's going to beat Failsafe yet; and that's exciting. There was mention this issue that Alfred was the person to be able to reset him, so maybe that will come back as the solution, getting a shape shifter to pretend to be Alfred to shut Failsafe down, but even that I'd have doubts about working.

The art on the book, by Jorge Jiménez, looks great throughout, and one of the things that I've really enjoyed about this story is some of the new designs. Failsafe looks fantastic, and I would love an action figure of him. He's got so many cool moving parts and interesting pieces on him, and the head design looking like a robotic Batman is great. The designs he did for the updated Zur-En-Arrh were really cool too. Every action sequence is designed really well, and the art really puts across how threatening Failsafe is.

The issue's back-up continues to set up for the main story, with Batman forming the Zur-En-Arrh personality in his head, whilst the Joker terrorises Gotham because he believes that Batman has gone mad, and that makes him jealous and angry. It's a decent story, and I love the classic looking art for it, by Leonardo Romero, that makes it feel like a story from decades past.

Overall, this is the first Batman story that I've been really excited to read each new issue of in years, and I really hope that it continues with this quality.


This article, and many others, can be read a month early on my Patreon for as little as $3 a month!


Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog


Revenge (2018) – Standard Edition Blu-ray Review

 

Originally published on Set The Tape


The rape revenge genre is one that isn’t often received well. Rape is a horrific experience that people go through all too often, and is something that women and femme presenting people experience in disproportionate numbers. Putting that on film as entertainment is always risky, as it can easily become a lurid spectacle thrown in to disturb the viewer. In the rape revenge genre it’s often used as a catalyst; the reason why the female protagonist has turned to violence against her attackers.

The awful truth of it is that rape victims are further victimised when they come forward. There will be accusations of it being made up, and excuses made as to the reasons it happened such as “Look at what they were wearing”, “They were being provocative”, or “They were asking for it”. Rape seems to be the one crime where the perpetrator admitting they were tempted into doing it by their own lack of morals is a perfectly valid excuse that ends with them getting away with it. And thus, revenge seems to be the place where victims feel that they can get their true justice in these kinds of movies, because in the real world, sexual assault victims hardly ever get that justice.

Revenge is almost immediately different from a lot of the other films in this genre, films such as I Spit on Your Grave, because it has a female director, Coralie Fargeat. With a woman writing and directing a film about an issue that often affects women, you’d expect that Revenge would bring something new to the table, some different ingredient that makes it stand out. Unfortunately, it feels no different from any other overly gory revenge movie on the market.



The film tells the story of Jen (Matilda Lutz), an incredibly pretty and hyper-confident young woman having an extra-marital affair with Richard (Kevin Janssens). Flying out to a remote mansion in the middle of the desert, the two of them settle in for a couple of days of sun and sex. Jen is fully aware that Richard is married, but enjoys the expensive lifestyle and fun she has as his mistress, and seems happy to be there. However, Richard’s two friends Stan (Vincent Colombe) and Dimitri (Guillaume Bouchède) arrive at the house a day early.

The three men had been intending to go hunting for the week, the cover Richard was using to spend some time with Jen, and the two friends weren’t supposed to learn about Jen’s existence. With the secret out, the four of them spend the night partying, drinking and taking drugs. The next day, whilst Richard is out, Stan, who feels that Jen was coming onto him the night before, feels owed, and viciously rapes her. Dimitri, who starts off watching, eventually just leaves, letting his friend assault her.

When Richard returns and learns what happened, he arranges a new job for Jen in Canada, and offers her a lump sum of cash, trying to get rid of her and buy her silence after the attack. When Jen refuses, and threatens to tell his wife, Richard hits her, causing Jen to run out into the desert. Cornering her on a cliff, the three men push her off, where she’s impaled on a tree. Thinking her dead, they leave to carry on with their trip. However, Jen survives the fall, and set out to get revenge on the men that wronged her.

The plot for Revenge doesn’t really feel like anything new; a woman in a remote location around evil men, who gets abused and assaulted and turns to violence feels like something I’ve seen more than once. Perhaps the main thing about the film that sets it apart is the location, with the vast desert environment feeling visually different from other movies in the genre. However, the actual substance of the movie feels pretty standard. Despite being directed by a woman, the camera feels very leering, and the most common shots in the movie are ones of Jen’s scantily clad rear. There are a few moments of full nudity thrown in there too, with the rare inclusion of frontal male nudity. Despite that, however, it does feel overly lecherous at times, especially when lingering on Jen. It does feel like the film is trying to sexualise her at times, as if trying to justify somehow what happens to her, in that “Look at what she’s wearing” kind of mindset.



The violence in the film feels kind of standard too. There’s not a huge amount here that makes it feel bold or interesting, and it’s mostly Jen hunting her attackers down with a gun. It’s bloody and gory, and the final confrontation is splattered in blood, but there’s nothing as visceral or shocking as say the penis removal scene in I Spit on Your Grave to make the violence in the film memorable or worthy of particular note. The film also comes across as a bit heavy handed with its metaphors. After being impaled on the tree, Jen is forced to use her lighter to burn the wood under her in order to break it, emerging from the flames. Later on, she uses an old beer can branded with a phoenix to cauterise her wound, branding herself with both an image of the bird and the literal word phoenix – just in case you missed the metaphor of her coming out of the fire a changed woman earlier in the movie.

There are a few extras on the new release, including an audio commentary by author and critic Kat Ellinger, an interview with the director, an interview with one of the cast, an interview with the composer, and an interview with the cinematographer. They’re decent enough extras, and offer some insight into the making of the film, but much like the movie itself they feel kind of standard with nothing of much note to really draw you in.

Revenge is a bloody and violent rape revenge film that doesn’t really seem to bring anything new to the genre. If you’re a fan of these kinds of movies you’ll probably enjoy it, but if you’re hoping that it will be doing something innovative it might fail to live up to expectations.



Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog


Thursday, 1 December 2022

Chains by Jon Richter - Book Review

 


'The owner of Brookhaven Care Home has been stabbed to death in his office, and DS Ursula Pembridge is called out to investigate the murder of the prominent property developer. When Owen Caulfield, campaign staffer for the local Labour MP, arrives to find his boss's planned visit has been cancelled due to the tragedy, he decides to stay and visit his elderly father instead.

'And so begins this uniquely compelling crime thriller. With each chapter told from a different point of view, Chains pulls us into the recent history of Britain and introduces us to adulterer and blackmailer, politician and private detective, environmentalist and killer-and reminds us that whether it's about current events or criminal activities, we all see situations very differently...'

Mystery books are a genre that will always be popular. People love unanswered questions, and the search for answers can be thrilling even if you're just along for the ride. But, there are a lot of murder mystery thrillers on the market, and it can be hard to find something that feels fresh and new, like it's actually bringing something unique to a crowded marketplace. Chains, by Jon Richter, is definitely one of these books.

What makes Chains unique, for at least every book I've read, is that it shifts it's narrator each and every chapter. Now, I'm sure you're already scoffing at me by pointing out loads of books that do that. But I'm not talking about a book with one or two shifting protagonists, every single chapter in this book is told from the perspective of a brand new character, characters that would be considered background characters in other books, for the most part. And this ever shifting narrative and changing perspective makes this feel like something special.

Chains tells the story of a small town that's suddenly rocked when a local businessman is found stabbed to death in the retirement home he owns, the night before he was due to meet a local politician. We're introduced to the story by the first police officer who arrives on the scene, from here we then learn more from the politician's aid, who arrived at the home for his meeting, but stayed to chat with his father who's a resident there. We then follow the carer who found his body. Then her boyfriend who works on a building site. Then the supervisor their. Then her partner who works in a restaurant. Each new stage of the story moves from person to person as they intersect with another character with another tiny piece of the puzzle.

Most of the characters we follow have nothing to do with the larger mystery of who stabbed the businessman to death, most of them don't even care about it other than registering it as a piece of local news; but they all help to build the picture in some small way. They overhear things, they meet people who have ulterior motives, they're involved in things that seem completely disconnected yet ultimately lead back to the murdered man. Chains shows that no one is every really isolated and alone, and that your life will intersect with others, dozens or hundreds, and that your life will have ripple effects that go out into the world and change lives.

One of the best things about the book is waiting to see which character you're going to be following next, which person who appeared briefly in the last chapter will become the protagonist for a few pages. With so much going on, so many characters to follow and stories to keep track of it could be easy to get lost, to forget who's who and what's happening if the book were in the hands of a lesser author, but Richter does an incredible job at making it all track, and in keeping things pretty simple to understand.

This was the most impressive thing about the book for me. I was a little worried before picking it up that this might become a confusing slog, but it was the exact opposite. It was very quickly a book that I was not just enjoying, but loving, and kept on saying 'just one more chapter' until I'd read way more than I first intended.

Chains is a book that's trying to be different and interesting. It's trying to offer readers something new, something that they might not have read before. And I can't think of any times it doesn't really work. I don't know if this is a style that is going to be found too often, as it might not work for every story, and not every writer might be able to pull it off, but after reading this I hope I see more books like this, because Richter has crafted something truly special here.



Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Wednesday, 30 November 2022

Deathstroke Inc #14 - Comic Review

 

Originally published on Patreon


The current run on Deathstroke Inc has been surprisingly enjoyable, and whilst the issue with him going up against Green Arrow was a lot of fun, this might be the best one so far. With Slade having tracked the man he's been contracted to kill, the man who experimented on him, to a military base in the middle of the desert, he's prepared to go in and complete his mission, but a trio of mercenaries beat him to it.

This issue shows us what happens when Slade goes in after them, making his way through corridors of dead soldiers like Grey Fox from Metal Gear Solid had been through. The build up is good, and shows us how dead the trio who've beaten him there are. They're taking down soldiers without letting them get a single shot off, and we see them kill the last group of soldiers protecting the doctor. 

As such, when Slade arrives we know it's going to be a big fight, and the action that ensues is really well crafted. The writing and the art work well together, and the creative team on the book have built something that feels dangerous and dynamic. Every panel is filled with movement and energy, and Slade is built up as an incredibly dangerous man. It's perhaps the best showcase of the young Deathstroke, and shows the reader that he was deadly before he went on to become the super villain we all know and love.

This issue does throw a spanner into the works of Slade's carefully planned out machine, however, as he learns that the person who hired him to kill the doctor is also the person who ordered the experiments that led him to this point. Whilst Slade certainly doesn't let the man go, determined to finish his contract and show that his word is his bond, it does raise questions as to what might happen next, and if Slade will be going on his own personal mission of vengeance.

Overall this was a really fun issue, and the only real criticism is that it went by too quickly and felt way too short.



This article, and many others, can be read a month early on my Patreon for as little as $3 a month!


Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

What Moves the Dead by T. Kingfisher - Book Review

 


'When Alex Easton, a retired soldier, receives word that their childhood friend Madeline Usher is dying, they race to the ancestral home of the Ushers in the remote countryside of Ruritania.

'What they find there is a nightmare of fungal growths and possessed wildlife, surrounding a dark, pulsing lake. Madeline sleepwalks and speaks in strange voices at night, and her brother Roderick is consumed with a mysterious malady of the nerves.

'Aided by a redoubtable British mycologist and a baffled American doctor, Alex must unravel the secret of the House of Usher before it consumes them all.'

I've been loving the horror work of T. Kingfisher over the last couple of years, The Twisted Ones had one of my favourite scare moments in books, The Hollow Places was filled with tension and mystery, and Nettle and Bone was a wonderfully dark fantasy tale that bordered on horror. As such, when I found out that there was a new book coming out, and that it was a retelling of an Edgar Allan Poe story I was hugely excited.

What Moves the Dead tells the story of Alex Easton, a non-binary soldier in the Gallacian army, who has travelled to the remote estate of their friends, Madeline Usher, and her brother, Roderick. Alex received a letter telling them that Madeline was close to death, and so set out to see her one last time, and offer support to Roderick. Upon arriving at the House of Usher, however, they're shocked to find that the siblings look thin, their flesh pale and old looking, like they'd both ages decades.

As Alex settles into the house for their stay, they begin to discover strange things going on. The rabbits near the estate all act strangely, watching the people that call it home, and moving in odd ways. Madelin walks the halls of the house at night in a strange trance-like state, muttering strange things. And bizarre mushrooms and fungus are growing everywhere. As the mystery and horror deepens Alex will have to call on help from Miss Potter, a visiting mycologist, Denton, and a doctor friend of the Ushers, to help them stop the horrors that plague the estate.

What Moves the Dead is, much like the story that it is based upon, a Gothic tale. There's a creepy estate, things going bump in the night, and lurking horrors that are barely imaginable. If Gothic is your thing, this book will absolutely scratch that itch, and will probably go into some interesting new places too. Kingfisher uses fungus and mushrooms a lot in this story, and if you know anything bout fungi you'll know that it's a pretty alien, almost frightening thing. Neither plant nor animal, able to infect others and alter their behaviour, able to grow almost anywhere, and in some cases can be some of the largest living organisms on the planet. They're incredibly creepy, and Kingfisher uses that to great effect here.

The story might be bases upon The Fall of the House of Usher but it's nothing as simple as a retelling. Kingfisher gives us a wholly new and unique tale with its own cast of interesting characters. Alex is a prime example of this, as I don't remember the original story giving much non-binary representation. Alex's home nation of Gallacia is an interesting place, and the book goes into detail to explain some of its history and culture, particularly in regards to gender and gender roles. Gallacia has multiple different pronouns, depending on age and role in society, and non-binary identities seem to be perfectly normalised there; even if there are allusions to the fact that that's not so elsewhere in the world. This is a wonderful new addition to the tale, and the inclusion is lovely to see. More books with non-binary characters, where their gender identity isn't the focus or even really brought up, are very much needed.

For those looking for something dark and creepy, What Moves the Dead will absolutely tick those boxes. There's enough mystery and slowly building tension here that you'll soon find yourself wanting to read the entire thing in one go; and with the book being relatively short in comparison to Kingfisher's other work, it is entirely possible to do so.

Kingfisher has once again provided readers with a creepy horror tale that's sure to delight, enthral, and frighten.



Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Tuesday, 29 November 2022

Tim Drake: Robin #2 - Comic Review

 

Originally published on Patreon



I love Tim Drake. I love that he's got his own series. And I love that he's an openly bisexual guy dating another man. It's been a great development for the character, and the way the story has been done so far is really good. Despite all this, I just find so little to like in this series.

Once again, Tim is being tormented by a mysterious figure who's harassing him with crimes that tie into classic mystery and detective stories. This has also resulted in Robin being framed for a diamond theft that has resulted in the GCPD making him one of their most wanted criminals (I guess saving the city multiple times doesn't get you any reasonable doubt when you're being framed). Tim spends much of the issue running around the city, trying to figure out what's going on, and worrying about his new boyfriend.

Sadly, neither story line really seems to do much. Every other time I've seen him and Bernard together in other series they've been doing great, but this series seems to have Tim constantly on the verge of a meltdown about their relationship. I know he's a newly out queer, and that can be a scary, weird time as you're still trying to figure out who you are and how you fit into the world, but can Tim not just enjoy his relationship for one minute? It feels like Meghan Fitzmartin is trying to set up a break up between the two of them with how the relationship is being played here.

The mystery is also a bit weird, and it's strange how Tim, the most detective of all the Robins, isn't being assailed by a brand new mystery, but with already existing detective stories. It's like the writer either can't think of a new mystery to throw Tim up against, so is using ones that already exist, or is trying to get Tim to prove himself as a detective with these older stories. Neither scenario feel particularly great, and Tim has more than proven himself to be the smarted Robin. The problem is, Tim doesn't really do much detective work here. He doesn't figure out the answers, he remembers having read the answers before in books, and fits them to what's going on around him.

Tim doesn't feel much like Tim here, his abilities don't feel like they're being showcased particularly well, and his personality doesn't fit with what I've seen of him in other books recently. This doesn't feel like the same person we've seen in Batman, Dark Crisis: Young Justice, or the DC Pride Special. Change the name and this could be any other character. Nothing about him says Tim Drake, and it's hugely disappointing for his solo series.

I also have some issue with the art on this book, by Riley Rossmo and Lee Loughbridge. The art has a very distinct style, one that doesn't really mesh with any other DC books out there. That's fine, there's no one way to draw comics, and different styles are always needed to help keep things fresh. But it doesn't feel like it fits the gritty nature of Gotham well. Everything is very cartoonish and exaggerated, and most of the characters look pretty bad. There's nothing about Tim in this book that says Tim Drake from a visual point of view, and like I said in the first issue review, he looks like a bad meme drawing half the time. There's even one panel that takes up the whole top third of the page where the characters don't even have faces. Did the artist just not care at that point?

I'm sure that there are some people who are loving this series; and that's great for them, I'm glad someone is. But as a long time fan of Tim, and someone excited to see him leading his own series, I just feel let down each issue.


This article, and many others, can be read a month early on my Patreon for as little as $3 a month!


Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Star Trek: Resurgence #1 – Comic Review

 

Originally published on Set The Tape


Star Trek: Resurgence is an upcoming narrative-driven story game coming out in early 2023, made by Dramatic Labs; an independent collaboration between twenty-plus former employees of Telltale Games. That name alone should indicate the kind of game that fans should expect. But before we get to play this story-heavy Star Trek experience, we get to set the stage with a prequel comic – as every Star Trek project needs either prequels, sequels, tie ins, or side stories. How much this actually has an impact upon the game will have to be seen once it’s released, but for now we at least can get a feel for the setting.

Taking place in 2380, a handful of years after the close of Star Trek: Deep Space Nine and the Dominion War, and a few years after Star Trek: Voyager and the final movies, the first issue begins on Etaris IV, a planet outside the borders of the Federation, deep in Talaran space. It’s here that we find Dr Leah Brahms, who TNG fans will remember as the scientist that Geordi LaForge had a very creepy obsession with in an episode. Having gone in search of a special type of Dilithium as part of a project to revolutionise warp engines, Brahms is captured by Talaran forces.

Back in Federation space, we’re introduced to the U.S.S. Resolute and its crew, where players will eventually spend their time when the game is released. Following the first officer, Commander Sutherland, we get a brief tour of key parts of the ship, such as the Bridge and Engineering, as well as the important department heads. Those that have seen the promotional material for the game will recognise some of the characters, such as Captain Solano, the Bolian Operations Officer Commander Yanin Urmott, and Vulcan Chief Engineer Chovak.

The Resolute gets its new mission from Starfleet Command: to head into Talaran space and rescue Dr Brahms. It’s a sensitive mission, especially as the Talarans hate outsiders, and had a small war with the Federation a few decades ago; but the technical secrets Brahms has can’t be allowed to fall into enemy hands. Perhaps most unusual, however, is that the Resolute is a science vessel, not a combat one, and sending them on the mission feels somewhat off to the crew.

The first issue is a solid start to the series; it spends its time setting up the mission, as well as the various key crew members aboard the resolute. But it also lets you get to know some of the characters beyond the basic set-up of what their job is. We know that Commander Sutherland is close to getting his own ship, and doesn’t quite get on with the Chief Science Officer. We also learn that Captain Solano has a complex history with Brahms, having worked with her on an engine prototype. Worth noting for the eagle-eyed fans, the current engine of the Resolute doesn’t look like the one seen in the game previews, but the prototype engine does, so make of that what you will.

The story for the series seems simple enough, a very important scientist has been kidnapped, and the Federation have sent a ship to go and get her back. And it’s good that the series is using a pretty tried and true scenario as a basis here, especially as this is a whole new group of people we’re following. However, by the end of the issue it becomes clear that there’s more here than even the audience is led to believe, and that the series looks like it’s going to have a few twists and turns ready to surprise readers with.

The book’s art, by Josh Hood and Charlie Kirchoff is really good, and the characters that have been seen elsewhere, such as Brahms and the Resolute Crew, are instantly recognisable as the people they’re supposed to be. The characters all look good, and there are tons of tiny details that help them come to life too, such as their hair being thrown around and messed up whilst on an alien planet, that make the book feel like a bit more than just static drawings. The ships also look great, and the design of the Resolute really comes to life here and looks good whenever it’s on the page. The designs for the Talaran ships are instantly visually different from the Federation ships too, and have an almost Star Wars look to them, reminding me at times of the Imperial Frigates.

This feels like a solid start to a story that seems to have some interesting places it can go. With story details for the game still light on the ground it’s not clear how much this will tie in to the upcoming game, or if it’s just a story meant to stand on its own, but either way, it seems like it’s got a decent foundation here.



Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Monday, 28 November 2022

Harley Quinn #23 - Comic Review

 

Originally published on Patreon



So I'm a little confused with the latest story in Harley Quinn. The last issue saw Harley being shot and killed following an argument with her friend Kevin. Kevin, distraught that she was dead, took her body across the world to the League of Assassins, and got them to let him give her a dunk in the Lazarus Pit to bring her back. Harley came out of the pit looking crazed and murderous. Pretty simple and straight forward. So when this issue began with Harley back in Gotham doing her usual weird shit I actually had to go back and look to make sure that I hadn't missed out part of the story.

But it seems like taking a big jump forward, not explaining what happened after the last issue, and just hoping the audience were okay with it all seems to be the plan for this story. It's honestly, really off-putting where a few pages into the second chapter of the story you're googling to see if perhaps you've missed something.

But no, Harley has no ill effects from the Lazarus Pit it seems, and went home after that final big reveal page. Almost like it didn't really matter and was done just for shock and a reveal for the sake of it. This issue Harley has formed a cult in the time between issues that worship her because she said she came back from the dead. In a world with weird shit happening all the time it seems a bit odd to me that she could form a cult like this just on her word, with no real proof or evidence that she did return from the dead; but then this is Gotham and people there are weird.

After this Damian Wayne turns up and attacks her for having used the Pit, expecting her to be crazed and dangerous. We all were Damian, so that's fair. Harley gets the upper hand on Damian, a trained assassin, and throws him off her ferry. Harley explains to him that she's fine, and seeing her normal for her, he agrees to leave. After this, however, it seems like there's a shift in her personality and she goes a bit mad. So I'm guessing we're getting a Jekyll and Hyde style Lazarus Pit reaction this time round.

After the initial weird opening the issue pretty much settles back into its normal kind of routine, with Harley being weird and goofy, Kevin being the caring voice of reason, and other characters coming in for a short while to keep the story interesting. It's not the worst issue of Harley Quinn around, but it doesn't really feel like it's doing much yet. Who the robed figure who killed her is, and what they mean when they talk about always killing Harleys will probably decide how well the story goes, and whether or not this shaky start was worth it.



This article, and many others, can be read a month early on my Patreon for as little as $3 a month!


Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Nope – Blu-ray Review

 

Originally published on Set The Tape


Nope is a film about obsession and spectacle, about chasing both, and how doing so can lead to your own destruction or salvation. Tonally and visually very different from Jordan Peele’s other work, it may just have revolutionised the UFO genre, giving audiences one of the best horror films, if not one of the best films full stop, of the year.

Nope begins with a scene that doesn’t make much sense upon first viewing, a moment of supreme shock and unsettling realisation as you come to see that you’re on the set of a sitcom, where a chimp has gone wild and caused carnage. Blood covers the set, a body lies broken and torn half out of view, and the ape sits there, covered in blood, looking like it’s ready to find its next victim. And whilst you get more context for this scene later in the movie, and it becomes one of the more visceral moments when you get to go back and see it in wider detail another time, it’s actually setting up one of the major themes for the film: that humanity believes that it can tame nature, that it can put a party hat onto an animal and make it into a spectacle, but that it will ultimately end in violence and tragedy.

This is something that is felt throughout the movie, even when we’re introduced to the Haywood family on their horse training ranch. OJ (Daniel Kaluuya), the dutiful older son, watches his father, Otis Sr (Keith David) killed in what he describes as an awful miracle, as strange screams come from the sky above, and objects rain down, one of which kills Otis Sr. Made to take over for his father, OJ lacks the charisma that his father oozed even in the few short scenes we had him in, and has to try to form a partnership with his sister, Emerald (Keke Palmer), who inherited her father’s silver tongue. The two of them represent the two halves of their father, his passion and knowledge for horses, and his ability to appeal to other people and present himself in a strong way.

But the siblings’ relationship feels a bit strained to begin with, with old wounds and issues festering beneath the surface as they try to find their places in this new dynamic born of tragedy. It’s when OJ sees something in the sky above the ranch one night that things change. Rather than doubting him, Emerald believes his claim that he saw a UFO fly above their home, and the two of them set out to find proof of its existence. With the help of tech store employee Angel (Brandon Perea), the siblings set out to capture the perfect moment, their Oprah shot, that will bring them both fame and fortune.



Nope likes to play with the conventions of alien horror films, taking small bits from other sources and putting its own spin onto things. There are moments in this film that will remind people of films such as Close Encounters of the Third Kind or Signs, and whilst you can feel small pieces of these movies in Nope‘s DNA it never feels like Peele is simply ripping them off, or falling back onto lazy tropes. Every moment in the movie feels fresh and original, and whilst it does feel like a love letter to the other entries in the genre it also feels like an evolution. Nope might be the latest film to tell this kind of story, but it’s one that is going to change how other filmmakers do it going forward.

One of the things that immediately stands out about the film is that whilst the scenes of horror are incredibly well made, the smaller moments also feel important. Other horror films often feel like they’re having to take things slow in order to spread out the story, that the quiet moments are there simply to spread out the important bits. With Nope, every scene feels like it matters, every moment is adding to the whole, whether it be the depth of the characters, or speaking to the themes across the film. Even when OJ sits quietly in the barn, cleaning a saddle, and begins to think about his father, or when Emerald talks about how she felt watching her family train up the horse that was supposed to be hers without her for a film, it all means something. The fact that every single scene also looks beautiful means that even these quiet personal moments are a feast for the eyes.

But the horror elements are some of the highlights of the film, and the moments when the creature (not a ship but an actual giant animal) is on the screen makes for some incredibly tense, stunning, and honestly quite beautiful moments in the entire movie. The moment when the ranch house has blood rain down upon it, with lightning flashes illuminating the scene is horrific yet enthralling, and the finale of the movie, where we get to see Jean Jacket in all of his glory, unfurled like some beautiful flowing monster might stand out as one of the boldest, most elegant monster designs I’ve ever witnessed.



A great deal of the charm of the film also comes from the cast, and Peele has assembled a wonderful group of actors here. Kaluuya makes OJ into a quiet, reserved man who always seems worried about speaking up, who spends much of the film finding his voice. You can see the weight and the pain of his father’s death on him in multiple scenes, and there’s a huge sense of sadness to him that seems to inform many of his choices. Palmer, on the other hand, feels the exact opposite. She’s loud, outgoing, and fast talking, and seems to be trying to push herself to always present as her best; trying to get the most that she can out of life in every moment. It could be easy for a character like that to slip into annoying, or overbearing, but she never does, and her performance becomes enthralling.

Steven Yeun, the third star on the cover, has a wonderful turn as Ricky ‘Jupe’ Park, the owner of a nearby tourist attraction, and former child star who survived the ape attack shown at the start of the film. Jupe comes across as a man trying to keep hold of his former glory as best he can, even having gone so far as to build a theme park around his one hit movie. There’s a sense of desperation to him, of his need to keep chasing that fame, that high he had as a child, even though it led to one of the worst moments of his life. He’s more complex than he at first appears, and whilst his story in some ways could seem disconnected from the Haywoods, especially the scenes dedicated to his past, he’s a physical embodiment of the themes that the film is pursuing.

As well as the film, the new Blu-ray release offers a number of extras. There’s a behind the scenes making-of that’s around an hour long, that whilst interesting doesn’t feel like it nearly goes into as much detail as it could. It covers a lot of the film well, but Nope is the kind of film that feels like it could be explored in much greater detail. There are also a couple of smaller behind the scenes features that go into a bit more detail on the film’s creature, and the real-world legacy of the Haywoods, but again, they feel pretty light on the ground. There are some deleted scenes and a blooper reel to round out the extras, and whilst there’s nothing bad to be found here, a lack of more depth and details on the movie or an audio commentary leave it feeling a bit light. I wanted to dive deep into the film, and whilst the Blu-ray does give some nice extra features I can’t help but feel like the eventual special editions of the movie will need to give boat loads more in order to satisfy that itch.

Nope is a film that is way better than it should be. UFO movies aren’t serious cinema, and other than a handful of films that have tackled the subject there’s not much in the genre that feels new or original any more. Nope, however, feels like it’s taken the genre in a bold new direction. It will end up being spoken of in the same way that Close Encounters of the Third Kind is, as one of the most influential and important UFO movies ever made.



Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog