Originally a novella by Joe Hill (Locke & Key, Plunge) and adapted by writer David M. Booher (Canto) and artist Zoe Thorogood (The Impending Blindness of Billie Scott), Rain #1 is an emotionally devastating and human-centered first issue of this unique apocalyptic comic. With a compelling narrative, great characterization, and wildly singular art, this is an unconventional horror story worth picking up.
“On a seemingly normal August day in Boulder, Colorado, the skies are clear, and Honeysuckle Speck couldn’t be happier. She’s finally moving in with her girlfriend Yolanda. But their world is literally torn apart when dark clouds roll in and release a downpour of nails—splinters of bright crystal that shred the skin of anyone not safely under cover. RAIN makes vivid this escalating apocalyptic event, as the deluge of nails spreads across the country and around the world, threatening everything young lovers Honeysuckle and Yolanda hold dear.”
Writing & Plot
In a medium chock-full of apocalyptic scenarios, Rain #1 is a breath of fresh air. Joe Hill’s concept of icy needles raining and impaling people is outlandish and horrifying. On the surface, this idea sounds like B-movie schlock. However, the concept is delivered in a plot dedicated to the story and humanity of its protagonist. Hill’s narrative, expertly scripted by David M. Booher, is emotionally heavy and beautifully presented. From moments of genuine romantic love to gut-wrenching loss, Hill’s prose and Booher’s presentation of it crafts a story that brings humanity and severity to a ridiculous-sounding concept.
There is an art in scripting prose writing in comic form, and Booher nails the approach. Internal dialogue that serves as narration is prescient and smartly laid out. His dancing between it and the dialogue would have you believe that this was his story entirely in the first place. All of the pieces of the script mesh together to create something memorable in its beauty and devastation.
Art Direction
Rain #1 is blessed with the unique visual talents of relative comics newcomer Zoe Thorogood. With help from Chris O’Halloran on colors, this comic’s art direction is the perfect blend of stunning and disturbing. Thorogood’s gorgeous yet unusual character depictions, lanky with big eyes basically, is offset by her eye for detail in facial features and clothing. This latter piece is so effective for how real her choices seem. It’s rare I see a comic that depicts how people in their late teens/early 20’s actually dress. Aside from this, her depictions of gore are all the more disturbing because of her distinct style. Tha manner in which she depicts such lively looking character being suddenly and viciously impaled by sky-needles makes this comic all the more unsettling – and proves her mettle as a top-tier horror artist.
O’Halloran’s colors mesh with Thorogood’s pencils in a atmospheric, modern manner. His use of flat tones adds even more of an uncanniness to the visuals while maintaining a gorgeous yet disturbing experience. His variety is worth noting here too. No two people have the exact same shade of skin tone, and no two surfaces are the same color. Overall, this comic is a stunning visual experience that fits its unsettling tone.
Verdict
Rain #1 is a brilliantly human and heartbreaking start to this apocalyptic-horror comic. Joe Hill’s work is expertly adapted by David M. Booher’s scripting, with cutting narration and standout dialogue capturing the story’s humanity. Zoe Thorgood’s pencils and Chris O’Halloran’s colors make for a uniquely gorgeous yet unsettling visual experience. Be sure to get this on your pull list so you can grab it when it hits shelves on January 12th!
THE ALL-NIGHTER #4 hits the internet December 21st, but thanks to comiXology Originals, Monkeys Fighting Robots has an exclusive five-page preview for you.
About the series: A new villain appears on the scene, the most destructive yet. With the situation continuing to spiral out of control, is Alex finally out of his depth?
THE ALL-NIGHTER is by writer Chip Zdarsky and artist Jason Loo, with colors by Paris Alleyne, and letters by Aditya Bidikar. Allison O’Toole is the series editor.
Zdarsky, Loo, Alleyne, Bidikar, and O’Toole previously collaborated on AFTERLIFT, another comiXology Original. AFTERLIFT won Best Digital Comic at the 2020 Eisner Awards, and was just named one of the Best Canadian Comics of 2021 by the CBC.
Check out the THE ALL-NIGHTER #4 preview below:
What is your favorite comiXology Original? Sound off in the comments!
MOON KNIGHT #6 hits your local comic book store December 22nd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you.
About the issue: Beaten, bloody, his world burning down around him—this was how the Moon Knight was born. And now it’s happening all over again. Outmaneuvered, outgunned, out-planned, Moon Knight’s mysterious enemy has strode out of the shadows to strike—and when this villain strikes, they strike true. At the mercy of a maniac, will Moon Knight die yet again?
The issue is by writer Jed MacKay and artist Alessandro Cappuccio, with colors by Rachelle Rosenberg, and letters by Cory Petit. The main cover is by Carlos Pacheco, Rafael Fonteriz, and Rachelle Rosenberg.
Moon Knight first appeared in comics nearly 50 years ago in 1975; he will make his live-action debut next year in an eponymous Disney+ series where he will be played by Oscar Isaac.
Check out the MOON KNIGHT #6 preview below:
Are you reading Marvel’s current MOON KNIGHT run? Sound off in the comments!
FEARBOOK CLUB hits your local comic book store January 5th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive five-page preview for you.
AfterShock is printing the graphic novel under its YA imprint, Seismic Press.
About the book: When shy 6th-grade shutterbug Whit Garcia starts middle school, he’s forced to join a yearbook club with three other weirdos who will never be voted “most likely to succeed.” But after the ghosts of missing students start haunting them, Whit, Hester, Hillary and Press must solve the supernatural secret behind these spirits — or their yearbook club will be voted most likely to join them.
But are these ghostly students the real bad guys? Or are they just warning Whit and his friends? Warning them about a darkness beyond their schoolyard…a darkness that threatens to swallow the school – and its occupants �� whole.
The sophomore offering from Seismic Press, FEARBOOK CLUB is a story all about fitting in, fighting ghosts and forming friendships with other misfits, especially when you’re a misfit yourself.
The series is by writer Richard Ashley Hamilton and artist Marco Matrone, with letters by Dave Sharpe. The main cover is by Matrone.
Check out the FEARBOOK CLUB preview below:
Are you going to be picking up FEARBOOK CLUB when it drops next month? Sound off in the comments!
There’s a lot to love about Image Comics’ Newburn. It’s a brilliant concept from the get-go: a private investigator hired out by the mafia to keep the peace. And when it comes down to it, that’s all this series really needs to be successful. Newburn can come in, month after month, solve investigations and kick ass. As readers, I think we’d be pretty happy with that. But writer Chip Zdarsky, and artist/colorist/letterer Jacob Phillips aren’t satisfied with that. They’ve taken it a step further. Newburn #2 is full of complex and human characters. They aren’t simply part of the “investigation of the month.” These characters have a story that’s bubbling beneath the surface. A story Zdarsky and Phillips want to chip away at slowly.
Writing
Zdarksy doesn’t shy away from the uncomfortable parts of his script. While Newburn is a character we’re supposed to root for – or at least want him to succeed in solving mysteries – we also see that he’s the kind of guy who can shrug off death with disturbing ease. Yet Zdarksy also shows that Newburn’s a little disturbed by his own callousness, too. And so we get to the meat of the story. Zdarsky places our characters in a tug-of-war of ideals. Do they want to be inhuman and legendary in their ability to get things done? Or do they want to cling to their conscience in a world that’s begging them to look the other way? Zdarsky presents these ideas with subtlety and subtext. He introduces this dilemma through pregnant pauses and unanswered questions. It’s wonderful and chilling at the same time.
Art
Emma still has some feeling in her. Phillips shows her smiling, frowning, grimacing, and yelling. But through all these scenes, Newburn doesn’t change. He throws a punch with the same look on his face as when he’s walking down the street. He only ever looks concentrated. Here, Phillips shows us that Emma is Newburn’s connection to normal life. He’s pretty far gone. He’s been doing this for a while. But Emma still sees it for what it is: interesting, terrifying, and thrilling work. Phillips focuses us in on the differences between these two by showing us their faces as often as possible, zooming in on their smiles or (in Newburn’s case) lack thereof. Phillips tells us so much about these characters in the simplest ways.
Coloring
Phillips’ coloring is quite subtle. Many of the scenes have no vibrant colors in them. That’s not to say these panels aren’t stunning. Phillips’ colors somehow manage to look messy, while also looking meticulously planned. He gives every page an uneven painted quality which is outright beautiful. But what we’re seeing are office buildings and quiet city blocks. There’s not a ton to get emotional about, especially not for our characters. So Phillips renders these in soft colors that blend together. The scenes feel gentle and unassuming. Yet when Newburn dodges a punch, or throws one, Phillips colors the background in bright red. He mesmerizes us with the quiet scenes, then wakes us up for the thrilling action.
Lettering
Phillips takes quite a straightforward approach in his lettering. The fonts don’t change, the word balloons remain mostly the same. There isn’t a ton of sound effects. But this is a crime procedural comic. This uncomplicated approach matches the tone of the series perfectly. And the one time Phillips changes things up, it’s incredible. When Newburn and Emma sit in the back of a car and chat, we see them as reflections in the car mirror. Phillips shows their word balloons coming from off panel, each tail directed at a side one of them is sitting on. He uses the reflection to show us where they’re sitting, then keeps the word balloons out of the way of the rest of the picture. It’s a fantastic choice which not only let’s the art breathe, but feels like it places you in the scene with the characters.
Image Comics’ Newburn #2 hits comic shops on December 15th. It shows that this series is going to be deeper than a simple crime story. Zdarsky and Phillips want to know what makes Newburn tick. Pick up a copy at your local comic shop, you don’t want to miss this one!
Jeff Lemire returns to his story of loss and grief at his most creative in Mazebook #4. With lettering from Steve Wands, this issue sends Will full-on into his dreamlike journey to find his daughter with suspenseful results. With sharp, naturalistic writing and brilliantly creative direction, this is yet another powerful chapter in this emotionally charged series.
“Stuck in an urban labyrinth of his own torment, melancholy building inspector Will and his talking canine companion fight their way through a dangerous metropolitan maze and head underground on the hunt to find his long-gone daughter.”
Writing & Plot
Lemire’s focus and pacing in this issue changes as much as the story’s setting with Mazebook #4. This time around, Will has finally arrived in the dream(?) realm where he believes his long lost daughter still lives. Here he meets up with a canine companion and the two hunt down the mysteries – and threats – awaiting them. As per usual, not much about the actual plot is discussed. Instead we find out as much about this world as Will does. He is our eyes and ears for this whole chapter. The surprises and dangers come across as surprising but almost natural feeling obstacles in an unnatural setting. The dreamlike state we’ve experienced this entire series in makes these new occurrences make sense in an unexpected way.
Our experience of the narrative is quite different in this issue due to Will’s change in focus. Where as in prior issues we’ve gotten his grieving internal narrative, here we only get his direct dialogue. He’s driven in this issue, more so than he’s been this whole series thus far. He has a purpose now that he’s here in this strange realm – and he has company. Lemire’s dialogue sensibilities really shine in this series, and this issue is no different. Will and his new friend’s back and forth is funny and endearing, and feels like real conversation. The comic’s steady pacing and uncertain progression makes this a charming yet tense installment in this outstanding series.
Art Direction
Jeff Lemire’s now signature art style crafts the perfect atmospheric experience in Mazebook #4. Admittedly not a visual style many readers can get behind, I find his brand of character art and design charming and emotionally evocative. This particular issue, however, sees Lemire in a previously unseen top form in terms of design and layout. Here, many of the pages are two-page spreads where the action is directed via a visual maze. It can start in the middle of the prior page then drop to the bottom, then swing back to the top of the facing page. This sort of approach has been done before, but rarely to such neat (and plot-relevant) effect. Lemire’s application of inks and watercolors over his pencils brings the usual sense of rich atmosphere, with a more foreboding touch.
The lettering from Steve Wands complements Lemire’s rough-hewn pencils with a similar approach. His fonts appear as if they were made with a #2 pencil, and I mean this in a positive way. There’s a handwritten quality to them that fits this comic perfectly.
Verdict
Mazebook #4 is a fascinating, tense, and brilliantly designed chapter in this stellar series. Lemire’s dialogue sensibilities, pitch-perfect visual aesthetic, and engaging page design make this another incredible issue in this engaging comic series. Be sure to grab a copy when it hits shelves on 12-15!
DC Comics’ Batgirls #1, available now, is about to give readers three for the price of one. Three Batgirls, that is. Becky Cloonan, Michael W. Conrad, Jorge Corona, Sarah Stern, and Becca Carey come together to tell this tale. All while the three Batgirls are still on the run from Seer, which means finding low-tech ways of protecting the city.
Cassandra and Stephanie take center stage on this cover of Batgirls #1.
The women who share the Batgirl mantle have been having a rough go of it in recent issues. First, their beloved (and iconic) clock tower was blown to bits. Then they were framed for its destruction. And finally? They’re dealing with a new villain, one that perfectly counters Oracle and her talents.
Despite these concerns, it is fantastic to see the trio back together for their own series in Batgirls #1. If there’s one thing we know about these heroines, it is that nothing keeps them down for long. So yeah, they’re going to rally, which involves finding new ways to keep on fighting.
The Batgirls aren’t going to let an enemy like Seer stop them from doing what is right.
Writing
Batgirls #1 is every bit as charming as readers could have hoped, if not more. Becky Cloonan and Michael W. Conrad perfectly capture three fan-favorite characters’ voices and blend them into an entertaining and energetic issue.
The sheer amount of energy in this issue allows each character’s personality to shine through. Barbara is calm, exhausted, and forming a plan. Stephanie is as bright and bubbly as ever. And Cassandra is still driven and succinct. There’s an added level of sweetness here as Barbara does her best to step up as caretaker for the other two, despite all of the complications that come with this action.
The issue starts as one might expect, with the trio in desperate need of a new sanctuary. While their new building doesn’t have the iconic look of the clocktower, it does still have a fair amount of personality. Whether or not that is a good thing remains to be seen.
That is but one of the changes portrayed in this issue, as a lot is going on. There are several threats on the horizon, not least of which being Seer. Seer has already proven to be a fascinating counter to Batgirl/Oracle, and it will be interesting to see how this character develops over time.
Hey, even a hero needs a break every now and then!
Artwork
If you think the characters and their personality within Batgirls #1 are bright, just wait until you see the artwork! The characters are expressive, the colors pop off the pages, and the action sequences demand attention.
Jorge Corona’s take on the three Batgirls is shockingly brilliant. It’s easy to see minute details on each of their faces, from Barbara’s exhaustion to Cassandra’s battle for control over her own life.
A thousand little details grab the eye, thanks partially to the coloring by Sarah Stern. To say that Stern’s colors are vibrant almost feels like an understatement. They’re the bright neon hues that only street art seems to capture, and yet here they are on the pages for us to adore.
Becca Carey’s lettering is the grounding feature necessary for this issue. The words help keep readers on track, guiding us from one panel to the next. It’s impressive how well-done the lettering is here, as they don’t remotely get lost in the sea of action, details, and colors.
Batgirl and Nightwing look so proud on this variant cover of Batgirls #1.
Conclusion
Batgirls #1 is the start of something fun and new. In other words, it’s going to be the perfect read for any Batgirl fan — regardless of which one you adore. Given how quickly this issue dives into the thick of things, it’s going to be a blast seeing what happens next.
I shouldn’t be at a loss for words about this issue. With writer Jeff Lemire, artist Andrea Sorrentino, colorist Dave Stewart, and letterer Steve Wands manning the ship, frankly, I should be expecting this level of excellence. Yet, Image Comics’ Primordial #4somehow manages to be even more beautiful than all the issues before it. This creative team knows that sometimes the simplest things are also the most meaningful.
Writing
Lemire’s script for Primordial #4 is led almost entirely by our three animal characters: Able, Mrs. Baker, and Laika. While they’re still undergoing the changes spurred on by previous issues, they are able to communicate in basic, if powerful, terms. They use words like “good,” “bad,” and “home.” But in giving these animals such a basic script, Lemire connects us to some of our most primal feelings. We want to be good. We want to be home. And when we see that these animals do too, that’s all that matters. Lemire doesn’t get distracted by the complexities of his story, and neither do we as readers. Those things, though interesting, get pushed to the margins. It’s the little critters that are navigating these complexities that we hone in on. In putting the story on their backs, Lemire makes this issue so moving, yet still easy to digest and understand.
Art
Sorrentino’s imagery is also a big part of what keeps us focused in this issue. He chooses all the right details to give us the feeling of every scene. When things begin to go wrong for our animals, we don’t see big images of them running or cowering. We see a panel of Mrs. Baker’s eyes peeking out from between her fingers. Or we see Able’s hands, desperately grasping at the side of a rock. And yet these images are often panels found in pages with wild layouts. Sorrentino will scatter panels across a page, like glass shards falling to the ground. That way, these small, intimate, emotional moments, tied together by the chaos of the panels on the page, make for deeply moving scenes.
Coloring
There are massive sections in this issue that don’t have much color in them. Stewart first shows us Able, Mrs. Baker, and Laika walking through scenes that are grey and white. The scenes feel quite matter-of-fact. We’re left worrying, for a second, that in gaining a higher intellect, these animals have traded away their joy. But then color splashes onto the page. It’s a joyous and beautiful return to emotions. And once Stewart has brought us back, he doubles down. When the animals are in danger, the page is covered in neon yellows and bright oranges. By stripping away the color for a while, Stewart gets us on the edge of our seats, our faces buried in the page. And that’s where Stewart wows us with dazzling colors and fills us with potent emotions.
Lettering
The most interesting aspect of Wands’ lettering comes through in how the animals talks. We see Able and Laika talking in broken sentences. Their word balloons have wavy borders and their font is small and tidy. It all feels quite refined. But when Mrs. Baker – who still communicates in “Eee eee!” noises – speaks, her word balloon is simple and her font is bold and slightly messy. Later, we see Laika panic. She talks about what’s wrong, but she barks too. And when she barks, Wands abandons the wavy borders and tidy font. We see Laika’s animal instincts rise back up into her throat. It’s a fantastic way for Wands to show us the emotion of that moment.
Image Comics’ Primordial somehow gets more beautiful with each issue. This creative team communicates in the simplest terms, to navigate us through a complex story. It’s stunning and moving. Pick up Primordial #4, out from Image Comics December 15th, at a comic shop near you!
JUST ROLL WITH IT from Random House Graphic hits your local book shop today. I wish this graphic novel was around when I went through sixth grade; it would have been a great comfort. Also, the universe that Lee Durfey-Lavoie and Veronica Agarwal created is one that we should all aspire to work towards. JUST ROLL WITH IT is fun, timely, and absolutely charming.
About the book:
JUST ROLL WITH IT is about Maggie, an anxious girl who turns to her twenty-sided die whenever she feels unsure. As long as Maggie rolls the right number, nothing can go wrong… or so she thinks. But what happens if Maggie rolls the wrong number? Perfect for fans of Guts and Real Friends, JUST ROLL WITH IT is the debut graphic novel from writer Lee Durfey-Lavoie and the second graphic novel from artist Veronica Agarwal.
After reading JUST ROLL WITH IT, I had to speak to the creators about their motivations and perspective. Enjoy the interview below.
MFR: Lee Durfey-Lavoie and Veronica Agarwal, thank you for taking the time to chat with me. Did you need to publish JUST ROLL WITH IT, or did you want to publish the book?
Lee:JUST ROLL WITH IT was very much a need. For me, it was really an emotional fulfillment- of being able to say ‘I can write this story,’ of fulfilling my childhood dream of being an author, and a kind of lighthouse-like beacon when I was in a job I didn’t like—and meeting all those landmarks, with Maggie? A scared kid going through a lot of hard emotional days? It was just perfect.
MFR: What will your emotions be like when the book gets into the hands of readers?
Lee:I’m going to be very honest—I’m going to lose my mind. We’ve worked really hard, a LOT of people have worked really hard, to get this book here finally, and it means a lot. For people to connect to and relate to Maggie and her story is kind of mind-blowing that it’s finally here.
Veronica:It won’t feel real for a while, I don’t think. I think my mind will deflect a lot and be like, “well okay, it’s out, doesn’t mean anyone bought it,” or “they bought it, doesn’t mean they read it,” or “they read it, doesn’t mean they liked it”… but Lee will do what he does best and remind me that the question “what if everything goes wrong” can be easily changed to “what if everything goes right?” I plan to hold onto all the positivity coming our way and hug the Maggie doll that my best friend, Alex Graudins (@toonyballoony) made me a whole bunch.
MFR: Can you talk about your creative partnership? You’re dealing with several subjects that can get emotionally charged; how did you ensure that each others’ visions came to life on the page?
Lee:I think a lot of it just boils down to being honest and open. If something on the page—be it a line in the script, the direction of a thumbnail, etc.—didn’t sit right with us, then we would bring it up to the other. There was also a lot of ‘off the page’ conversation between each version (from the original mini, to the outline, etc., etc.) where we discussed what we thought was important and needed to be on the page. We also realized early on that it would basically be impossible to fit every variation and example of OCD and anxiety onto the page so we had to narrow it down to make narrative sense for Maggie.
Veronica:As Lee mentioned, it was a lot of communication! Sometimes I would be drawing a page out, and I would have to consult Lee about changing a line to fit the expression of a character or the flow of a panel better, or reordering something or adding a scene. I think our creative partnership is a little unique because we’re life partners as well, so I was constantly bugging him about changes I wanted to make, and if he thought they worked—more often than I might bug a professional partner, haha. But I think that worked in our favor because it let me finesse a lot… and let him keep me from finessing too much.
MFR: Veronica, why was it important to tell your audience you used a 1.5 Faber-castell pen?
Veronica:Okay, to be really honest, our editor told me to list the specific supplies that I used when making it, so I did. I also do just love that pen though! I’ve tried using other things for thumbnailing, and 1.5 Faber-castell pen is what I feel most comfortable with; it keeps me from getting too hung up on detail when it comes to the planning stage, and I just love how it feels when you draw with it!!
MFR: The “How We Made This Book” section at the back is brilliant. As a creative team, you went the extra mile. Do you realize how much of an impact you could have on a person with those four pages?
Lee:These are such kind words, thank you so much, and all that praise has to go squarely to Veronica because that was fully and totally her idea.
Veronica:Thank you so much! As an artist, this was my favorite type of bonus content that could be included in books. When I was growing up and reading manga, I loved seeing the mini sections about what the artist was doing in between drawing, getting to know them across multiple chapters, or meeting them briefly at the end of the book…it felt like such a special connection from artist to reader. It’s something I thought about, but to hear that you think my pages could make that same connection with a reader now means so much.
MFR: There are some great colors and textures in the book, do you, as a creative team, have a conversation about the color palette and what were you trying to accomplish?
Lee:Yes and no. A lot of this is up to Veronica; she is the expert. Occasionally there would be a page or a panel here, and there she asked if I liked better, but the vast majority is all her hard work and talent. Some of the stuff we DID collaborate on was the albino animals, Maggie’s die, the inky black swirls that crowd Maggie when she gets stressed, some of the stuff like that.
Veronica:Admittedly, I didn’t consult Lee on this very much!! I went with my gut for color selection, and I tried to reflect the mood with my use of texture. My secret was taking screenshots of the ink PDF in the books app on my iPad, putting those screenshots into Adobe Fresco, and coloring over them in batches at a time, so I could get a look at how things worked together as opposed to doing each page individually. That helped a lot in regards to setting a visual mood for certain pages and scenes!
MFR: Lee, what was the process like finding Maggie’s voice?
Lee:After brainstorming sessions way back in 2016, short stories and drabbles as we developed characters and plot, the 12-page mini, and an outline I revised probably like four times, I can say Maggie’s voice came kind of naturally, haha. But really, there were some dialogue revisions right up until the very end, making sure everything sounded right. I can say that the easiest time I had writing her is when she’s having fun—writing the moments where she’s surrounded by a semi-chaotic group of friends, and family members comes very naturally to me.
MFR: Veronica, can you talk about the visual techniques you used to bring Maggie’s OCD and frustration to life?
Veronica:When I was brainstorming on how to represent anxiety visually, I tried to think a lot about how it feels for me physically. Anxiety is different for everyone, but for me, panic feels like a bird fluttering desperately in my chest. For Maggie, I went for a kind of buzzing feeling, something that shuts everything else out with its own inescapable noise.
MFR: You have three albino animals in the book; what’s the hidden meaning?
Lee:Well, I’ll be honest, I don’t really remember. I know the monster outside the school was actually a product of our (amazing) agent Susan Graham (@Grahamophones) – which is an outside reflection of Maggie’s inner turmoil. As to specifically why it’s an albino, I believe it was because being albino, in the wild, is a unique marker—but one that can put you in danger. It’s not necessarily a bad thing, but untreated, unadjusted for, it can put you in situations that are bad for your health.
MFR: After JUST ROLL WITH IT becomes a hit, what next for our brave, creative team?
Lee:Thank you so much for your confidence and enthusiasm! Currently, we have a sequel for JUST ROLL WITH IT, and while it doesn’t have a name just yet, you can follow us on Twitter at: @Anuanew and @Leedurfey for updates and events and the like! We have other stories we want to tell that we’re also developing right now, but at the moment, they’re top secret.
Veronica:I won’t repeat what Lee said, but I will just say thank you so much for your kind and insightful interview questions as well! We had such a wonderful time answering these, and they were so so kind.
MFR: Lee and Veronica, thank you again for your time, and best of luck with JUST ROLL WITH IT!
Nightmare Alley is an impressive noir film from Guillermo del Toro that features a career-defining performance from Bradley Cooper. Cooper’s talent is undeniable, but he channels a darker side and brings it to life brilliantly. Paced very leisurely, Nightmare Alley does have its dull points. Toro decides to kick it up towards the end with a heart-pounding final act that keeps you invested. Nightmare Alley is a stylish crime drama that keeps you on the edge despite its sluggish moments.
The costume and set designs featured in this film are breathtaking and immaculately crafted. There’s a feeling of intimacy with each frame, and it grows into a very tense affair once Cate Blanchett enters. Her presence shifts the film into a different gear that elevates your curiosity till the true intentions of her character are revealed. Nightmare Alley follows Stan Carlisle (Cooper), a man down on his luck until he cons his way to the top. He partners up with a psychiatrist, Lilith Ritter (Blanchett), who proves to be savvier than he expected.
Toro collaborated on the screenplay with Kim Morgan. The allure of Nightmare Alley can be found in its carnival setting, but that disappears halfway through. Opting for a more prestigious setting as Stan cons his way through life. Down on his luck, and believing himself to be capable of something better. Stan takes his lover Molley (Rooney Mara) and himself out of the carnival life to perform tricks in a disastrous get rich quick scheme.
Stan is reserved and very gracious at first, but the allure of success and wealth transforms him into a greedy monster. His conniving ways lead him down a path of self-destruction after meeting Lillith. Molley grows into this sympathetic protagonist while Stan unravels. She isn’t aware of his new mistress, or the schemes he keeps hidden. Stan’s likable qualities are subdued by his desire to acquire wealth by any means necessary.
Nightmare Alley keeps Stan intriguing through constant flashes of a horrific act that clogs up his mind. His feelings of guilt about this are made evident by his compensating through his greedy habits. There’s a substantial amount of effort put into developing Stan. He isn’t very likable as the film progresses, but the thought of him getting caught makes the payoff that much more rewarding. His affair with Lilith provides Nightmare Alley with some of its best moments.
Cooper and Blanchett’s chemistry cast a spell when Stan and Lilith are together. An irresistible feeling of curiosity takes over, as you try to figure out which character will best the other. Cooper’s performance is going to be talked about for quite a while. The talent he displays in this role is a testament to his range as an actor. His delivery, facial expressions, and overall breathtaking portrayal are a true highlight.
Toro thrives at the helm of his first film to be void of any mythical elements. This alone makes the inner struggles of Stan more disturbing, as Toro brilliantly draws attention to real-world monsters for a change. Nightmare Alley’s pacing becomes its worst enemy, but Toro turns the sluggish middle act into a thrilling finale. Even when its runtime is felt, Nightmare Alley is so well crafted that you can’t help but grow attached.
Nightmare Alley is a spine-chilling noir film that features the best performance of Bradley Cooper’s career. The slow burn may feel unnecessary, but each moment becomes relevant in the film’s conclusion. It’s a visual delight thanks to the film’s phenomenal production design. Nightmare Alley has an attractive appeal that makes up for the sluggish pacing, but Cooper and Blanchett are what keep this story compelling.
