Pop #1 published by Dark Horse, written by Curt Pires, and drawn by Jason Copland is based around a very Cronenbergian premise (more specifically ason of Cronenberg premise). It is a sci-fi tale about a world where the biggest celebrities aren’t born, but made and grown in a lab. A secret corporation births and oversees the rises, successes, and falls of almost all actors and pop stars. If any of their creations deviate from the company’s desires, they are swiftly dealt with. One night a woman, Elle, escapes from her pod and is taken in by a comic shop owner, Coop, while he is on his way to commit suicide. What is apparent in this first issue is that they are about to both about to be in way over their heads in this situation that is much bigger than the both of them.
Released alongside the PlayStation 4, HouseMarque’s homage to classic shooters such as Defender andDatastorm was easily the best pick of the launch games (and in many ways is yet to be beaten). Casting you as a small ship on a large, curved cylinder, Resogun tasks you with moving left, right, up and down along the rotating background whilst shooting baddies, dodging projectiles and – most importantly – saving humans.
The last focus is the twist on the old-school formula. As if it weren’t complex enough to take out the waves of enemies using a tried-and-tested combination of blasters, boosters, overdrives and massive, screen-rippling nova bombs, the pesky aliens have started abducting humans and you’re the only one that can save them.
Dalek stories are tricky. As monsters, they’re one trick ponies, but they’re also iconic and massively popular, so they’re trotted out every season or so for the Doctor to face*. They’re the Doctor’s oldest enemy (the First Doctorfaced off with them in his second story), and frankly, the series ran out of new ways to use them a very long time ago. In season one of NuWho, Robert Shearman revitalized the creatures with his fantastic script for “Dalek”, but since season two, their appearances have mostly been a series of diminishing returns, with the creative and visually interesting “Asylum of the Daleks” a welcome exception. “Into the Dalek” on the whole succeeds and is certainly the best Dalek story in quite a while, topping “Asylum” thanks to that episode’s dreadful and contrived (though well-acted) Amy/Rory conflict, but in the end it falls prey to the same struggle that has plagued Dalek stories for years: Doctor Who is unwilling to change the Daleks, and so has nothing new to say about them or the Doctor’s relationship with them.
After many casting announcements all summer, Westworld has becoming on of TV’s hottest projects with one of the most interesting casts ever assembled on the small screen
Brand new trailer for Jaume Balagueró’s, the director of 2007’s REC and it’s equally terrifying 2009 sequel REC 2, return to the franchise’s supposed final installment, REC 4: Apocalypse
Jonathan Hickman started writing Marvel Comics’ flagship team back in 2012. Marvel was implementing their “Marvel NOW!” imprint across the board, repackaging The Avengers as a shiny new number one. (Which – if you look at the numbers – it’s hard not to call this a strategy to temporarily boost units shipped.)
When Channel 3 news reporter April O’Neil (Judith Hoag) is accosted one night during the walk to her car by a group of thugs, four strange saviors submerged in shadow come to her rescue with the speed and stealth of ninjas. Both foes and friends represent forces the city of Manhattan will reckon with in incredible ways. On the side of crime and greed is the mysterious Foot Clan, a clandestine syndicate originating from Japan believed to be long forgotten. Led by the imposing Shredder (James Saito) and trained as ninjas, the Foot uses their talent for crime’s sake, in addition to recruiting the city’s delinquent youth as the next generation of troops. On the side of virtue and righteousness are…mutated teenage turtles who dwell in the sewers, also schooled in the ways of the ninja by their master Splinter (Kevin Clash), a adult human sized mutated rat! Soon, the quartet formed by Leonardo (Brian Tochi), Donatello (Corey Feldman), Michelangelo (Robbie Rist) and Raphael (Josh Pais) will test the hardness of their shells and the sharpness of the Shredder’s blades!
Miranda July, indie filmmaker and artist behind Me and You and Everyone We Know and her latest from 2011 The Future, is something of a polarizing director, to say the least. The perception of her work ranges from quirky, colorful and enchanting to quirky, colorful and insufferable. Her latest short film, Somebody, premiering at the […]
Each week I find myself writing about how much I hate performance-driven music videos but present you with an exception. I think it’s time to admit defeat and realise that there is actually a large population of artists and music video directors who can get creative and pull them off. Although I feel a little foolish for […]
If all the world’s stage, then surely some players crave the spotlight more than others. And if ever there was a player, it was Errol Flynn. The Last of Robin Hood tells the twisted story of three people who will do almost anything for fame. That each must settle for infamy is one of the juicy, yet unexplored ironies in a movie that doesn’t know which story it wants to tell. By taking an evenhanded and humanistic approach to such salacious subject matter, the filmmakers have effectively squashed any possibility for tawdry fun. Instead, we get a bone-dry historical drama that skimps on the history and bypasses the drama entirely.