News: The Bat, The Cat and the… Bane?

January 19, 2011 / saxonbullock2000 / 2 Comments

No longer do we have to make completely random and ill-structured guesses about the third Batman film based on vague rumours and hints. Now we can make our random and ill-structured guesses with information that’s rock solid!

Of course, today’s the day that we’ve found out official casting on Christopher Nolan’s simmering third Batman film, now titled The Dark Knight Rises. Aside from Christian Bale (and the presumed presence of Michael Caine, who’s ended up even more of a Nolan fixture than Bale has), the only confirmed name we had was Inception and Bronson star Tom Hardy:

(Yes, he also played Picard clone Shinzon in the diabolically awful Star Trek: Nemesis, but I’m willing to forgive and forget). I was happy when I heard about this – Hardy is continuing to impress, and was one of the best things about Inception (managing to make the fact that Eames the Forger really wasn’t much of a role seem completely irrelevant, and being hugely engaging as well). And we didn’t even know who he was playing.

Well, now we do. The guesses flying around the internet said ‘Hugo Strange’ (a psychological lesser-known Batman villain, obsessed with the Dark Knight to the extent of actually wanting to be him), but it turns out Strange is in the new Batman: Arkham City game that’s on its way soon. Instead, and rather surprisingly, he’s playing this character:

Bane – who didn’t feature in any guesses, simply because you don’t instinctively look at Tom Hardy and think “There lies a man who’ll look fantastic in spandex and a Luchadore mask”. He’s a Latin American criminal genius who used to be fuelled by a highly addictive super-strength inducing drug called Venom, and is probably best known for being responsible for crippling Batman during the epic ‘Knightfall’ comic saga back in the mid-Nineties. Since then, he’s had a fairly complex history, and now regularly appears in Gail Simone’s highly acclaimed comic title Secret Six. No, the costume isn’t ideal, and neither is the fact that Bane has actually appeared onscreen before, in the hypnotically awful Batman and Robin in 1997, when he looked like this:

I don’t think we need to start worrying, though – Bane wasn’t the first potential villain that leapt to mind, but dodgy costume aside (and Nolan’s films have happily redesigned costumes and looks – just look at the Joker…) I can see a tweaked version of him fitting into Nolan’s universe. In fact, I’d lay bets that they may be using ‘Knightfall’ as one of their loose starting points (In the same way that Batman Begins played with some aspects of Batman: Year One, and The Dark Knight echoed both Batman: The Long Halloween and Batman: The Killing Joke without being actual adaptations). It’s a story I enjoyed the hell out of back in 1994 – not without its problems, but it was a damn sight more exciting than any Batman films we’d had recently (especially after the headache-inducing Batman Forever). The setup is that Bane, hungry to take control of Gotham, targets Batman as a ‘fitting adversary’, works out that he’s Bruce Wayne and then sets about systematically destroying his life, culminating in a brutal fight in the Batcave where he breaks Batman’s back. I don’t expect to see any of that directly in the film, but considering that the Nolan version of Batman is already an official fugitive from justice and being directly hunted by police, echoes of ‘Knightfall’ could potentially play very nicely.

We also got the not-very-surprising revelation that Catwoman is in – considering she’s about one of the only remaining members of Batman’s gallery of villains who’d fit smoothly into Nolan’s steely take on the Dark Knight mythos, it really wasn’t a case of if they were going to announce it, but when. Again, it’ll fit the Batman-on-the-run vibe, probably throwing the two of them together on the wrong side of the law. And we’ve got an actress cast:

Anne Hathaway, the one thing that prevented me from trying to claw my own eyes out while having to review the grotesquely horrible live action Shrek wannabe Ella Enchanted (for SFX, many moons ago…). Hathaway is a really good actress – she was one of only a couple of names on the ‘shortlist’ flying around on the internet a while back who I looked at and thought “Yes, that’ll work”. While she has appeared in her fair share of souffle-light chick flicks and she’s not exactly a physical chameleon (Let’s just say – her attempt to look plain in the early scenes of The Devil Wears Prada weren’t going to nab her any Oscars), she’s an extremely good actress, and I’d offer up Rachel Getting Married as proof.

She’s really, really good in the film, carrying off a chain-smoking ex-junkie in a note-perfect and brilliantly emotional turn, and I think there’s the potential for a really interesting take on Catwoman from her. It’s one of those roles that everybody has a view on, and there’ll be tons of debate on her suitability over the next eighteen months until the movie opens, but considering how different and daring and yet utterly true to the character The Dark Knight’s take on the Joker was, I think we can safely rely on Nolan throwing a few curveballs in and not giving us a replay of Michelle Pfieffer in Batman Returns (not that many would complain about that), or a safe, watered down version of Catwoman. And whatever happens, whether Nolan does manage to trump The Dark Knight or not – she’s going to make a much better Catwoman than Halle Berry…

(*shiver*)

Comic Review – Casanova : Luxuria

January 19, 2011 / saxonbullock2000 / Leave a comment

Year: 2010 ~ Writer: Matt Fraction ~ Artist: Gabriel Ba ~ Colours: Cris Peter ~ Publisher: Icon

[xrr rating=5/5]

What’s it about?: Casanova Quinn – liar, bad seed and international scoundrel. He’s leading a life of crime, enjoying the hell out of disobeying his father Cornelius Quinn and the forces of E.M.P.I.R.E… but then, he’s abducted out of his own timeline and taken to another. Here, he’s enlisted by his sister Zephr and bandaged villain Newman Xeno to become his own evil twin and destroy E.M.P.I.R.E. from within…

The Story: “How can a bunch of stupid comic books compete with drugs and girls that let you take off their clothes?” It’s a damn good question (asked during the second story in this collection, ‘Pretty Little Policeman’), but if there’s one comic that stands a pretty good chance of competing, it’s the mad, brain-expanding and sinfully sexy Casanova. The brainchild of comics writer Matt Fraction, a man who’s carving out a selection of highly acclaimed stories in the mainstream Marvel universe (including an acclaimed run on The Invincible Iron Man), Casanova is the kind of full-tilt, love-it-or-hate-it, packed-to-the-brim-with-invention story that thumbs its nose at normality, convention and good taste. Instead, what we get is a gorgeously hyper-lurid blend of sci-fi, pop art spy thriller and twisted family saga, as if someone had taken cult sixties adventure Danger Diabolik and mashed it together with Michael Moorcock’s Jerry Cornelius novels and a heavy dollop of Grant Morrison-style insanity.

Originally published back in 2006, Casanova was first issued in smaller-formatted 15 page instalments (and in a simply coloured green/black/white style), and Fraction made every page count by cramming a jaw-dropping level of invention into each one. In the first instalment alone, we get horny fembots, psychic combat, drugged-out sex and a helicopter-driven supercasino – and that’s only in the first twelve pages, shortly before our hero gets torn out of reality and things get really strange. It’s a demanding read, one that hurls concepts at the reader as fast as they can take it, and while the broad ‘Bond on Acid’ style is fun, energetic and wonderfully sexy, the world of Casanova is also a weird, disturbing and downright brutal one. If it isn’t the torture, it’s the nude male wrestling deathmatch. If it isn’t the robot orgies, it’s the worryingly flirtatious nature of the relationship between Casanova and his alternate, not-technicially-in-a-quantum-way-related twin sister Zephr.

Fraction knows how to mess with our preconceptions, and spins a series of tales that up-end traditional pulp fiction assumptions (especially in ‘Coldheart’, where Casanova investigates a savage island of tribal warriors), twisting the narrative into interesting and mindbending shapes. It’s not just a romp, though – at the heart of Casanova, there’s a dark and troubling story of a tangled family, and what happens when reality collides with comic-book insanity. The sheer level of invention is boggling, and this isn’t a collection that’s easy to take in one sitting, but in today’s world of decompressed comics where whole fight sequences can stretch over multiple issues, a comic as packed full of goodness as Casanova is something to be applauded. Combine that with Fraction’s crackling dialogue and truly demented sense of humour, and you’ve got a turbo-charged dose of craziness that repays multiple re-reads.

This Icon collection reprints the original series from 2006, but it’s been spruced up with new colouring (creatively done by Cris Peter, and still referencing the green look of the comic’s first outing) and new lettering, along with a selection of fresh extras at the back of the book, including the new 10-page story ‘I Think I Almost Loved Him’, which fills in some of the gaps in the story around the character of the Night Nurse. Also, Icon is currently reprinting in issue format the also-recoloured and never-before-collected second Casanova run Gula, with an all-new Casanova story coming later in the year. Don’t hesitate – get onboard now with one of the most entertaining, challenging and genuinely offbeat comics out there.

The Art: Brazilian artist Gabriel Ba is better known for his work on offbeat fantasy comic The Umbrella Academy, but Casanova was the first work to get him serious mainstream attention, and it’s no surprise – this is stylish, distinctive and wonderfully sexy stuff. Dynamic and graphically interesting throughout, he’s brilliant at laying out pages and grabbing the reader’s attention. He also draws women like nobody else on Earth, managing a style that’s simultaneously over-the-top ludicrous, characterful, and utterly drenched in sultry sexiness (especially when it comes to Zephr Quinn in the ‘Pretty Little Policeman’ carnival sequence). There’s barely a crazed idea Fraction can come up with that Ba can’t pull off, and it all adds up to the kind of characterful and utterly unique comic art that’s easy to get lost in.

The Verdict: Like a particularly demented night out on the town, you may not remember everything that happens by the end of Casanova, but pretty soon you’ll be hungry to go through it all over again. It’s certainly not for everybody, but lovers of the cult, the strange and the sexy should buckle up for this ride as soon as they possibly can.

[amtap book:isbn=0785148620]

Movie Review – Schizopolis

January 14, 2011 / saxonbullock2000 / 1 Comment

CAST: Steven Soderbergh, Betsy Brantley, David Jensen, Eddie Jemison, Mike Malone ~ WRITER/DIRECTOR: Steven Soderbergh ~ YEAR: 1996

What’s it About?: Fletcher Munsen is a low-level corporate drone, part of the machine that keeps lifestyle guru (and author of the earth-shattering manifesto ‘Eventualism’) T. Azimuth Schwitters on the rails. He has a speech to write. He has a wife who’s having an affair. And he also has an exact duplicate – a dentist named Jeffrey Korchek – with whom he suddenly switches lives, leading to some extremely bizarre consequences…

The Film: Even with his wildly eclectic filmography (going all the way from the intense indie drama of sex, lies and videotape to the crime capers of Ocean’s Eleven and the sci-fi of Solaris), there’s very little in Steven Soderbergh’s work that will prepare you for Schizopolis. Filmed in 1996 as a stripped-down, guerilla-style filmmaking endeavour (after his last Hollywood film, The Underneath, proved to be a creativity-sapping disappointment), Schizopolis is a freewheeling mix of corporate satire, sketch comedy and absurdist insanity that’s a hell of a lot sharper and more complex than its initial scattergun structure would make you think.

Right from the opening, where Soderbergh addresses the audience (explaining that ‘in the event you find certain sequences or ideas confusing, please bear in mind that this is your fault, not ours”), the whole film has a seriously anarchic feel. It’s one of the most deliberately playful and comic things Soderbergh has ever done, with the film divided into three specific sections, and various scenes intercut alongside news reports, random cutaways (including a running gag of a man, naked except for a ‘Schizopolis’ T-shirt, constantly trying to escape from white-coated officials) and bizarre intertitles. It’s the cinematic equivalent of Soderbergh letting his hair down and just running wild – and for all the moments where Schizopolis is fantastically off-the-wall and undisciplined, there’s a surprising level of conceptual weirdness holding it all together.

Above everything, it’s a film about communication. From the way that randy insect exterminator Elmo Oxygen talks in fractured doublespeak to the housewives he seduces (“Jigsaw. Uh, fragment chief butter. Chief surgery mind?”) to the meaningless exchanges between Munsen and his wife (“Generic greeting!” “Generic greeting returned!”), Schizopolis is a film about human communication and how rarely it actually works – the fact that events can have a completely different perspective for different people, and that we rarely seem to know even the people who we’re supposed to be closest to. That this is wrapped up in a loose narrative alongside Philip K Dick-style reality shifts and news announcements about the state of Rhode Island being sold and turned into a gigantic mall just makes the whole film a bewildering and yet oddly fascinating experience.

Heavily influenced by Monty Python and the films of Richard Lester (best known for his work on Superman II and III, but also for directing the classic Beatles movie A Hard Day’s Night and other energetic works of Sixties cinema), Schizopolis is the kind of film that goes out of its way to confuse, but is also frequently hilarious, with Soderbergh himself (in his only onscreen acting role) turning out to be surprisingly good at deadpan comedy. The film gets an even weirder real-life twist with the knowledge that Munsen’s wife is played by actress Betsy Brantley, Soderbergh’s wife of the time (who he was in the process of divorcing while Schizopolis was made), and the tangled relationship between Munsen and his wife does have an odd sense of melancholy that you wouldn’t expect in such an off-the-wall movie.

It’s little seen, but Schizopolis is one of the key films to understanding Soderbergh as a director – it freed him up, and you can clearly see how his wild experimentation here impacted on almost all his future film work. The sheer level of energy and invention in Schizopolis is something to behold, and above everything, it’s a great example of a filmmaker heading off in an unexpected direction and simply trying to have as much fun as he possibly can.

The Verdict: Soderbergh’s surreal low-budget experiment is quite definitely not for everybody – but the mixture of broad comedy, bizarre satire and reality-bending weirdness makes it an absolute must for any lovers of cult cinematic oddities.

[xrr rating=4.5/5]

[amtap amazon:asin=B0000BUZKS]

Comics Review – Jack Kirby’s Fourth World Omnibus (Volume 1)

January 12, 2011 / saxonbullock2000 / Leave a comment

WRITER/ARTIST: Jack Kirby ~ PUBLISHER: DC Comics ~ YEAR: 1970-71

What’s it about?: Once, the Old Gods ruled supreme. Now, after they fell, out in the depths of space dwell the New Gods, inhabitants of the warring planets of New Genesis and Apokolips. But the hand of the tyrannical Darkseid is reaching out to Earth, searching for the elusive answer to the Anti-Life Equation, and soon all of humanity is in deadly jeopardy…

The Story: As ahead-of-their-time concepts go, the Fourth World saga was up there with the best of them. Having jumped ship from Marvel and signed with DC in the early 1970s, Jack Kirby basically had carte blanche to do what he wanted. He’d already been drawing comics for decades, doing everything from crime to romance, while completely remixing the idea of what superhero comic art could be with his classic run on The Fantastic Four. And naturally, he wasn’t about to do anything small. What he came up was a sequence of stories that ran through four seperate titles, all of which linked up to tell a bizarre, mythic story of interplanetary gods fighting an epic war that (naturally) spreads onto Earth, where mankind is soon in danger of being caught in the crossfire.

The thing with the Fourth World is that it’s the comics equivalent of The Velvet Underground – it wasn’t really that succesful, with sales peaking early and then trailing off, and was generally regarded as something of a flop at the time, petering out and being cancelled long before Kirby got to build up to the epic finale he had in mind. But then, something odd happened, and it ended up having such a gigantic influence that this ‘flop’ series ended up as an integral part of the overall architecture of the DC universe, with its set of characters (including Orion, Mr Miracle and Darkseid) turning up in all manner of places. It’s got to the point where DC’s 2008 ‘event series’, the fantastically insane Final Crisis, was actually a gigantic homage to the Fourth World – not copying it, but almost attempting to do the kind of insane, boundary-stretching storytelling that Jack Kirby would be doing now if he was still around.

So, the Fourth World saga is kind of a Ground Zero for many of the modern-day DC superhero comics, and a redefining moment for the more mythic branch of superheroes. Not to say that the gritty, empathetic world of Marvel didn’t have its strengths, but superhero adventures could also be genuinely epic, telling tales like nothing ever seen before. Jack Kirby certainly believed they could, and the Fourth World was soon speeding off the map into its own particularly barmy unexplored territory.

In Volume One of this Omnibus series, we’ve basically got the set-up – it’s a 380 page hardback graphic novel that contains the first 16 issues of the saga in chronological order, and which leaps in sequence between four different titles. It all starts off in the seemingly inauspicious pages of Jimmy Olsen’s Pal Superman – a vehicle for Clark Kent’s bow-tie wearing, gosh-wow junior reporter sidekick which had certainly never been especially interesting or experimental before, but in Kirby’s hands was soon turning into a hallucinatory tale of dropout societies, motorbike gangs, secret scientific projects, genetic engineering and alien invasion. Then, there’s The Forever People, a gang of teenage bike-riding heroes from a place only known as ‘Supertown’ who are soon tackling the forces of evil and the sinister Anti-Life equation, while in ‘Orion of the New Gods’, we finally find out that this is all revolving around the war between peace-loving alien world New Genesis and hellish fire-planet Apokolips, a war that’s soon spreading to Earth. And finally, in ‘Mister Miracle’, we start off with what seems to be the story of a super-powered escape artist, but are soon finding that it all connects up with the other stories in a variety of unpredictable ways.

The main thing to remember when reading the Fourth World is that these are comics from the 1970s – while there’s plenty about Kirby’s world that’s forward looking, there is also plenty that has a goofiness and a B-movie charm that can make it feel like you’re reading some bizarre cross between Barbarella and Easy Rider- Kirby’s characters are bigger than life, archetypal gods fighting it out on a human scale, and the dialogue can often come across like the crazed outpourings of a nutty beatnik mastermind. And yet, while there’s plenty of goofiness here, there’s also an awesome amount of invention and energy, with almost every page crackling with life. It’s worth remembering that not only was Kirby writing, editing and doing the pencil art on every issue, but he was also in his Fifties at the time, and the Fourth World has the kind of manic momentum and spitballing energy that you’d usually only find in a twentysomething artist eager to prove themselves. There’s also a warmth and a generosity of spirit, and a belief in the younger generation that’d it’d be very easy for the Fiftysomething Kirby not to have – this was a period when it was very easy to still regard the younger generation as a rebellious enemy, and yet the Fourth World is forward-looking and consciousness expanding – it’s ‘far out’ in a way that’s unintentionally funny at times, and yet the energy and the heart of the story shines through.It’s nutty and surreal, with god-like characters fighting it out against four-armed monstrosities while intoning what Grant Morrison describes in his introduction as ‘Shakespearean Jive’, and while it’s an admittedly crazed ride, but it’s also one that’s well worth taking.

These collected editions are gorgeous, but they ain’t cheap (coming in at about £33 pounds each), and while there’s been criticism of the decision to use a more traditional comic-style paper stock rather than going for glossy high-grade paper, it actually works perfectly. Kirby’s comics were designed to work on this kind of paper- his work can look garish if presented in the wrong way, but with these Omnibus editions you’re essentially getting a remastered version of the original comics experience, with enhanced colour, a great introduction from Grant Morrison, and a backup essay from Kirby disciple Mark Evanier.

The Art: Big, energetic and crammed full of boggling invention, the Fourth World is also an artistic goldmine, with almost every frame being a masterclass in form and style, with Kirby coming up with evermore lurid and weird double-page spreads and bizarre costume ideas. From angular designs that verge on the abstract to surreal photographic montages depicting psychedelic landscapes, it’s a wild and eye-catching ride. Most of all, there’s the sheer level of energy that’s packed into every single panel – Kirby transformed the concept of how to present action in comics, and in the Fourth World he pushes it to a completely different level. It’s the chance to see a legendary artist at the top of his game, pushing comics in some truly weird and wonderful directions. It’s not the kind of style that’s going to appeal to everyone (especially since modern comic art styles have evolved in an extremely different direction), but if you love Kirby’s work, you simply can’t afford to be without this.

The Verdict: As collected editions go, it’s pretty damn good, and as superhero comics go, this is close to essential – a firecracker of work from an artist firing on all cylinders that’s gloriously insane, and genuinely inspirational in a completely loopy, free-form way.

[xrr rating=5/5]

[amtap book:isbn=1401213448]

Movie Review – TRON: Legacy

January 12, 2011 / saxonbullock2000 / Leave a comment

YEAR: 2010 ~ CAST: Jeff Bridges, Garrett Hedlund, Olivia Wilde, Bruce Boxleitner, James Frain, Beau Garrett ~ WRITERS: Edward Kitiss & Adam Horowitz ~ DIRECTOR: Joseph Kosinski

The Backstory: In 1982, videogame designer Kevin Flynn (Jeff Bridges) tried to break into the system of his ex-employers ENCOM, but instead was transported into the world inside the computer – a realm of adventure and danger, where he fought against the Master Control Program with the help of a program named Tron (Bruce Boxleitner).

What’s it About?: Twenty years after Kevin Flynn vanished, his rebellious 27-year old son Sam Flynn (Garrett Hedlund) follows a possible clue to his disappearence, and ends up inside another world. Flynn has created a self-contained digital universe – the Grid – but he’s been trapped inside it for twenty years by his alter ego, the program CLU, and now there’s very little time before the only escape route closes forever…

The Film: We are quite definitely living in strange times. The quest to re-sell and repackage the 1980s (whether it’s TV series or resurrected movies) over the last few years has been an exceptionally bizarre experience, but nothing so far has been quite so odd as Disney’s decision to do a massive-budget, 3-D blockbuster sequel to – of all things – Tron. The 1982 cult curio has built up a strong reputation thanks to its kooky story and the fantastically stylised early-CGI visuals (which, despite the technical limitations, seem to somehow get more stylish the older they get), but it was a box-office flop at the time, and nobody’s idea of a dead-cert for a major-league franchise revival.

That we’ve simply gotten a TRON sequel is strange and wonderful enough – but after watching the film in brain-scrambling IMAX 3D, I can’t help feeling that we’ve ended up with this generation’s version of the 1980s screen adaptation of Flash Gordon. That’s not exactly what Disney set out to acheive, admittedly, and it’s also true that TRON: Legacy isn’t anywhere near the campery or sheer unadulterated fun of Mike Hodges’ absurdly colourful 1982 spectacular (partly because the central concept of TRON is, to be honest, so wonderfully ridiculous that it does need to be taken very seriously in order to work).

TRON: Legacy is, however, the closest anyone’s come in a long time to the style of pulpy adventure films that were so common during the 1980s, managing to be thrilling in a way that isn’t quite the usual adrenaline rush that modern Hollywood specialises in. TRON: Legacy is absolutely an Adventure film, rather than an Action film – in the same way as Avatar, it’s all about the worldbuilding and the environment (with story and character coming a slightly weak second place), and both films also use a hefty dollop of classic Joseph Campbell-style storytelling in order to transport us to into their universes.

It’s true that TRON: Legacy doesn’t manage this as succesfully as Avatar did (with one of that film’s true strengths being the fact that it is a deeply immersive spectacle), mainly thanks to some very clunky storytelling. It’s also true that Garret Hedlund largely falls into the same category as Flash Gordon’s Sam J. Jones in being a slightly engaging but mostly rather oaken lead actor. In fact, TRON: Legacy is packed full of problems, and frequently feels like it’s only a couple of scenes away from collapsing in on itself, while being as unlikely a franchise-starter as I’ve ever seen. The occasionally sluggish pacing combined with some very incoherent story choices don’t help in the slightest, and TRON: Legacy is certainly a long-way from being a top-notch blockbuster film.

And yet… it’s actually stuck with me a lot longer than Avatar did, and I’ve got the odd feeling that I actually prefer it, despite Cameron’s 3-D opus undoubtedly being the more polished and well-structured film. Much of this is that TRON: Legacy is such a tremendous visual spectacle, one that really needs to be viewed on the biggest screen available, while also being a film that does take us somewhere new, even if it’s just in terms of style and visuals. The way it expands and realises the world of TRON is never less than impressive – there’s a lush, faintly ludicrous and yet undeniably sexy style to the production design and costumes, a European comic-book visual sensibility that keeps the eye candy at a truly glorious level, from the head-whirling disc combat to the climactic air-battle. The look of the film is backed up with the sound – and again, as with Flash Gordon and its timelessly over-the-top Queen music, TRON: Legacy would be much weaker if it wasn’t for the sharp, driving and surprisingly powerful score from Daft Punk, a soundtrack that’s snapping at the heels of Hans Zimmer’s work on Inception for the ‘Best of 2010’ award.

Ultimately, what I really liked about TRON: Legacy is that it’s actually trying to tackle some interesting philosophical questions about life, creation, freedom of information, and the kind of future the digital world offers us. Yes, it’s doing it in a frequently garbled and half-baked way, but the screenplay does a good job of mirroring certain aspects of the real world in the universe of the Grid, and the apparent ‘Hey kids- Piracy is cool!’ subtext in its first twenty minutes isn’t anywhere near as simplistic as it first appears. It’s true that much of the ‘meat’ of the film is thrown at the audience in a single massive flashback sequence, and there’s so much thematic material in the screenplay that I can’t help wishing screenwriters Edward Kitiss and Adam Horowitz could have managed another rewrite, or at least smoothed out some of the clumsier dialogue and exposition (especially in the extremely weak opening sequence, where Kevin Flynn explains the Grid to the 7-year-old Sam as a bedtime story).

However, for all its flaws – the occasionally hard-to-follow battle scenes, the overplayed one-liners, the fact that the CGI used to de-age Jeff Bridges to play CLU is still a few years from being consistently photorealistic – I’d still far rather see a film like TRON: Legacy aim high and fall short, than just getting another immersive yet unsurprising fantasy journey like Avatar, no matter how well-executed it is. A continuation of the saga seems deeply unlikely (and slightly frustrating, considering a couple of very deliberate flapping plot threads at the story’s climax), but despite all its flaws, there are kids out there whose minds will be blown by TRON: Legacy – and I can’t help feeling this is yet another slow-burning cult movie just waiting to happen.

The Verdict: Ignore any of the Star Wars prequel comparisons some negative reviews have thrown around– TRON: Legacy may be loaded with issues in its storytelling, pace and dialogue, but it’s also one of the strongest visual experiences to hit the screen in a long time, backed with the brilliant Daft Punk soundtrack, and a story that’s smarter than it first appears. Plus it’s got Olivia Wilde looking hot in a rubber catsuit, which simply can’t be a bad thing…

[xrr rating=3.5/5]

[amtap amazon:asin=B00467EKJU]

TV Review – Dirk Gently

January 12, 2011 / saxonbullock2000 / 4 Comments

Cast: Stephen Mangan, Helen Baxendale, Darren Boyd ~ Writer: Howard Overman
Director: Damon Thomas ~ Year: 2010

[xrr rating=2.5/5 imageset=red_star label=”Rating:”]

The Low-Down: Hitch-Hiker’s Guide to the Galaxy author Douglas Adams’s other bizarre creation is brought to the screen here in a brave but ultimately deeply flawed one-off drama, a pilot episode for a potential series of bizarre and whimsical sci-fi investigations.

What’s it about?: Eccentric detective Dirk Gently believes in the fundamental interconnectedness of all things. He also believes in attempting to politely swindle old ladies out of money in order to track down their missing cats… but how is his latest runaway feline also connected with his old University friend Richard Macduff, a missing multi-millionaire, a time machine, and an exploding warehouse?

The Show: Douglas Adams is very much one of those ‘tricky to adapt’ authors. You only have to look at the movie version of The Hitch-Hiker’s Guide to the Galaxy to see how things can go wrong, and while I can salute anyone with the bravery to take on the task of adapting the fantastically bizarre Dirk Gently’s Hollistic Detective Agency to the screen, at the end of this BBC4 drama (a pilot for a prospective series) Adams remains resolutely un-adaptable.

It’s partly his unique narrative voice. It’s partly the fact that his plots were almost always mad improvisation that could go off on abrupt tangents at a moments notice (and thus don’t fit into traditional narrative structure very well). And it’s partly the fact that Adams’ universe is (despite his wonderful, spritely and creative humour) a seriously dark place, where horrible things can happen out of nowhere, and fate regularly has the last laugh. Not the kind of world-view that’s easily plugged into a quirky detective saga, which probably explains why it’s almost completely absent from this 1-hour pilot episode.

Misfits writer Howard Overman is sensible in not attempting to do a straight adaptation of the original Dirk Gently novel (especially since the plot goes in some fantastically complex directions), and one of the most surprising things about this TV outing is how much of the original novel is present and correct. He’s retooled Dirk (Stephen Mangan) as a kind of free-wheeling, quantum mechanics-inclined version of Sherlock Holmes (with a remixed and far less capable version of novel character Richard MacDuff (Darren Boyd) as his dim-witted Watson), and it’s easy to see this as a project that got comissioned in the wake of the success of this year’s modern-day reboot of Sherlock.

Overman pulls off some good lines, and there are a couple of very Adams-style bits of invention (especially the final fate of the cat Dirk is searching for), and he’s also oddly restrained in certain areas – Seargeant Gilks, a fantastically angry policeman and nemesis of Dirk, is so underplayed here as to be barely present. He also does his best to reformulate Adams’ twisty plot into an easier-to-follow story of second chances, while trying to set up Richard Macduff as a slightly dazed straight-man to Dirk’s off-the-wall insanity.

Trouble is, if you take the darkness out of Adams, what you’re left with is a little too much of a sitcom (particularly with the scenes featuring Dirk’s elderly client), a wacky Holmes-style romp that features plenty of running around and comedy shouting, but is mainly built around a relationship – Richard and Susan (Helen Baxendale) – that we don’t care about, and don’t really believe for a second. Combine this with the fact that the ‘fundamental interconnectedness of all things’ turns out to be a shorthand for ‘hard-to-swallow coincidences’, and the plot ends up a fitfully entertaining but not exactly succesful comedy mystery that occasionally lurches into life, but too often comes to a juddering halt.

Pilot episodes are notoriously tricky, of course, and this wouldn’t be the first one to feature creaky storytelling. What sinks Dirk Gently – at least, as an adaptation of Adams’ work – is Dirk himself. Again, it’s no surprise, as Dirk is an emphatically odd character, a mass of contradictions who isn’t even the main protagonist of either of his novels, but the changes Overman makes give us a version of Dirk that’s oddly shaded and doesn’t really work. Dirk is portrayed here as a smarmy, over-confidant but occasionally brilliant trickster, and Mangan isn’t always capable of pulling off the weird cadances of Adams’ dialogue (he’s mostly better with lines that aren’t directly from the book).

Admittedly, the original character is quite definitely a con-artist – but he’s also a notoriously bad one. Most of his attempts backfire in bizarre ways (like the college exam papers he faked as a clairvoyancy scam at University that turned out to be, word-for-word, exactly the same as the papers that were set), as if the universe is constantly preventing him from getting away with it – and it’s also strongly insinuated that he’s rarely been capable of getting any of his clients to actually pay any of his outrageous bills.

Overman skips most of this, making the confidence trickster side more overt, but Dirk stops being quite so interesting, and becomes a lot harder to sympathise with. He isn’t the mercurial figure in the books – he’s just a fast-talking con artist who occasionally gets lucky. It doesn’t help that Mangan isn’t the most likeable of leads, and ending the pilot episode with Dirk using hypnotism to swindle Richard of 20,000 quid for a holiday in the Bahamas doesn’t do anything to change that.

Add in some awkwardshifts in tone, intermittent physical comedy and a general sense of inconsequentiality, and the end result is one of those loose adaptations that has its fun moments, but on the whole doesn’t get anywhere near the odd energy of the original work. It’s always possible that there may be a series – and that Overman may be able to develop this world in some interesting and stronger directions – but going by this opening outing, I’d be very surprised…

Verdict: It’s a step up from the truly dreadful Radio 4 adaptation (which starred Harry Enfield as Dirk), but a few funny lines and a smattering of inventively off-beat sci-fi strangeness does not a series make. Combine that with a miscast lead actor and this oddball confection never gets its act together for long enough to live up to its intimdating (and far superior) source material.

[amtap book:isbn=0330301624]

Comics Review – Locke and Key : Welcome to Lovecraft

January 12, 2011 / saxonbullock2000 / 2 Comments

Writer: Joe Hill ~ Art: Gabriel Rodriguez ~ Colours: Jay Fotos
Publisher: IDW ~ Year: 2008

[xrr rating=5/5]

The Low-Down: The first volume of a major work of dark fantasy from the acclaimed author of Heart-Shaped Box, this is a gripping and superbly crafted comic book (currently being adapted for US television) that will have you genuinely gripped and hungry for more.

What’s it About?: Their father has been brutally murdered. Now, the Locke children and their mother are living in the old family home outside the town of Lovecraft, and trying to piece their lives back together. Problem is, their house has secrets. There are the keys that open doors in weird and magical ways – turning you into a ghost, letting you go anywhere, and many, many others. And there’s monstrous evil lurking in the shadows, waiting for the chance to find the key to the Black Door…

The Story: A piece of advice – if you’re ever looking for a place in the country to recuperate after a devastating personal loss, don’t even think of moving to somewhere called Lovecraft. Of course, the characters in this opening instalment to the dark fantasy saga Locke and Key don’t know their 1930s pulp horror authors, leading to a whole heap of trouble and one of the most distinctive comics of recent years.

What’s most surprising about Locke and Key – especially in this opening six-issue arc – is how it takes incredibly familiar fantasy/horror tropes and makes them feel fresh, new and accessible. Scriptwriter Joe Hill (author of horror novels Heart-Shaped Box and Horns, and also son of Stephen King) isn’t afraid to use a very traditional setup to tell what turns out as a surprisingly characterful and layered story. Locke and Key is, in many ways, a typical kids adventure story filtered through a brutal, adult perspective – there’s magic and weirdness to be discovered, but at a cost that’s traumatic, often bloody and leaves a difficult aftermath in its wake. The Locke kids each have to deal with their loss in different ways, and the story is just as much about them gradually coming to terms with their father’s death as it is about magically empowered keys. Hill’s characterisation work here is exceptional, giving every character depth and layers, making us care for them while slowly ratcheting the suspense up as the story marches inevitably towards a tense and violent conclusion.

It also helps that he’s got a great understanding of how comic storytelling works. Writers best known in other mediums don’t always get comic books, and will often make them over-wordy or rely too much on narrative caption boxes for comfort, but Hill gets the pacing and rhythm of the story exactly right, and also knows the kind of tricks you can pull off with the comics medium – creative flashbacks, juxtaposing scenes, and manipulating time in a number of creative ways. He’s able to be inventive, while keeping the drive of the story going, and the end result is a collection that’s extremely hard not to power through in one sitting.

This isn’t the full story, of course. Welcome to Lovecraft is a scene-setter, a suspenseful curtain-raiser for the slightly more slow-burning but still brilliantly crafted main event, the long-form story that continues through the following volumes Head Games, Crown of Shadows, and Keys to the Kingdom (still being published in issue format). Hill has a big story to tell, and he’s willing to take his time – there are only hints of the bigger picture here, but they’re all intriguing enough to almost guarantee you’ll be hooked by the end of this story. Horror comics very rarely manage to be genuinely scary, but Locke and Key pulls it off thanks to brilliant characterisation, sharp storytelling, and a writer who knows exactly what he’s doing.

The Art: Plus, there’s the simply awesome artwork from Gabriel Rodriguez. Showcasing a stunning level of design and detail, Rodriguez has a really interesting visual style that’s almost like a cross between Frank Quitely and Richard Corben, cartoony yet rooted in a very firm and physical sense of realism. The nuances and body language of the characters are all incredibly well portrayed, while he also throws himself into the darker, more horrific material with serious gusto. From full-page splashes to some eerie dream sequences this is great, atmospheric stuff that’s fully supported by some artful and delicate colour work from Jay Fotos. It’s massively impressive, attention-grabbing work – and, amazingly, in comparison to his work on the later volumes, this is just the warm-up act…

The Verdict: An enthralling mix of dark fantasy and horror, this is a characterful and gripping piece of comic-book storytelling that will have you instantly hooked. Yes, there’s a US TV adaptation in the works, but do yourself a favour and get reading the original as soon as is possible.

[amtap book:isbn=1600103847]

Welcome to the Pleasuredome

January 11, 2011 / saxonbullock2000 / Leave a comment

Testing… testing… one two… one…

Is this thing on?

Right, okay, just a minute…

*fumbles for script*

Hello!

Come on in. Make yourself comfortable. The air is free. The drinks are expensive…

This is Schizopolitan. A review blog from writer and journalist Saxon Bullock.

Be advised: Schizopolitan is not to be used while operating heavy machinery, and can cause random acts of yodelling during pregnancy.

For more information on Schizopolitan, have a look at the introduction page, and feel free to explore what’s here on launch day. There are four reviews for you today, and there’ll be plenty more content soon, so I hope you’ll stick around for what should be an entertaining ride.

If you’ve got any queries or comments, feel free to contact me. Otherwise, enjoy the site, and thanks for reading!

*exits left, pursued by bear*

Saxon Bullock

Writing and Editorial Services

Journalism

News: The Bat, The Cat and the… Bane?

Comic Review – Casanova : Luxuria

Movie Review – Schizopolis

Comics Review – Jack Kirby’s Fourth World Omnibus (Volume 1)

Movie Review – TRON: Legacy

TV Review – Dirk Gently

Comics Review – Locke and Key : Welcome to Lovecraft

Welcome to the Pleasuredome