DECORUM #5, available from Image Comics on October 7th, follows Neha as she endures the first years of assassin training, learning to take a life and watch her back. Jonathan Hickman’s story is, in a word, amusing, and the art thankfully tones down some of the post-modern imagery to bring the story down to coherence.
Cover Art
Mike Huddleston’s cover bears no connection to the internal story in any way that’s obvious. A gorilla-jawed soldier dressed in napoleonic garb takes a gunshot(?) to the chest, but that character or the battle they’re in is not part of the story. It’s an interesting cover; very exciting and dramatic, so its a creative piece of art to joy.
Writing
Hickman’s story plays as an amusing take on Mark Millar’s WANTED wherein a young diamond in the rough is recruited into the assassin’s life by a slick and seasoned mentor. Neha loses a bit of her street urchin charm in this issue as she throws herself into the first years of assassin training as a determined and eager student.
It’s an odd flip; going from completely lost and inept to an all-in go getter. Hickman weaves in plenty of wit as Neha is taken out in training assignments with vomitous results, but the humor, while very amusing, covers a largely predictable chapter in this overall series. It’s an enjoyable read, even if it lacks any surprise.
Pencils/Inks
Huddleston greatly tones down the esoteric imagery in this issue to render a story throughline that largely makes sense. This really is a montage issue where the reader is treated to snaphsot instances of Neha going through her educational paces.
Huddleston character renderings are a bit cleaner here, and the backgrounds are less distractingly chaotic. Where Huddleston’s art chines the most is during the killing assignments. Neha’s push to become a killer when it doesn’t come naturally reads so well through simple side glances and facial reactions to the task at hand. If not for the subject matter, this character work would execute very well as an animated film.
Lettering
Rus Wooton’s lettering gets top marks for marrying a bold lettering style with an admittedly amorphous artistic aesthetic. Gun shots are loud, and garish. Body parts hit the floor with heavy, wet thuds that perfectly mimic how you would expect the impact to sound. Very creative and very well integrated lettering by Wooton.
Conclusion
DECORUM #5, available from Image Comics on October 7th, is a fast and amusing read for an issue of its size. The art is more relatable than previous issues, and the violence is cocooned in plenty of dark humor. If you’re a fan of Hickman’s writing, this book is worth your time.
Thirty years ago, the box office sizzled with actions, ten years later, it was laughing its way to the bank, and ten years after that, it was laughing again from a kick to the nuts.
October is the month of Halloween and is perhaps no month better represents movies. After all, actors, directors, and the rest of the filmmaking industry are professionals at playing pretend. You’d think, though, that a month celebrating enjoying the macabre would produce nothing but horror hits. However, our look at the box office over the past 30 years and the films that earned the most money reveals that horror is hardly the only thing people watch this month.
So, who took the box office crowns in our analysis this month? Let’s take a look back ten, twenty, and thirty years ago at the biggest movies released in October.
1990 • Marked For Death • 46 million
In a year of Ghost, Pretty Woman, and Home Alone, love stories and a kid comedy, along comes Marked For Death, an action movie from hot star Steven Seagal. Marked For Death was Seagal’s third film after stints as a stunt coordinator and martial arts instructor who reportedly broke Sean Connery’s wrist during filming. Marked For Death features the typical hard-boiled, steely-eyed protagonist that Seagal always seemed to play back then. Playing former DEA agent John Hatcher, Seagal tries to save his town from a gang of religious zealots determined to take over John’s hometown.
October of 1990 didn’t see too much excitement in films that left a longstanding pop culture impact. Memphis Belle, a fictionalized retelling of the last mission of an American Boeing B-17 Flying Fortress bomber, came in behind Marked For Death. A re-release of the acclaimed Disney animated film, Fantasia, earned the third spot. In fourth is Quigley Down Under, a film starring Tom Selleck as a sharpshooter fighting for Aborigines’ lives in Australia. In 1990, Kirstie Alley was hot stuff in Hollywood and starred in Sibling Rivalry, a star-studded comedy directed by Carl Reiner that included Sam Elliott, Jami Gertz, Bill Pullman, Carrie Fisher, and Scott Bakula.
2000 • Meet The Parents • 161.1 million
Long ago, comedy legends Jerry Stiller and wife Anne Meara gave birth to comedy legend Ben Stiller who starred in a remake of 1992’s Meet The Parents and led it to the October box office crown of 2000. Director Jay Roach (Bombshell) and a stellar cast with the likes of Blythe Danner (Gweneth Paltrow’s mom) and Robert DeNiro created a film that spawned two sequels and several loose spin-offs. The film’s left a pop culture impression that includes the line “Are you a pothead, Focker?” uttered by DeNiro.
Two hot stars came together in 2000 for the film Bedazzled, about a man who makes a deal with the devil. Hollywood hunk Brendan Fraser played the man. To play the devil was sinfully gorgeous, Elizabeth Hurley. The late Harold Ramis directed the film. Behind Bedazzled is Pay It Forward, the feel-good film starring Haley Joel Osment, Helen Hunt, and Kevin Spacey. There’s no denying it made saying ‘pay it forward’ a common phrase. Following the super-success of Blair Witch, the filmmakers tried to make a ‘standard’ sequel, even ditching the found-footage vibe. Blair Witch 2: Book Of Shadows was a mild success that ended the franchise for the next 14 years. The Contender, a political drama starring (and co-produced by) Gary Oldman, snuck into the top five and received two Oscar nominations (Joan Allen, Jeff Bridges)
2010 • Jackass 3D • 177 million
On October 1st, 2000, MTV, the channel that played music videos at one point in time, released a bunch of lunatics onto the world. The show was called Jackass, and it featured Johnny Knoxville, Bam Margera, Steve-O, Wee-Man, and a host of other crazy characters performing some ridiculous stunts and acts of random stupidity. It’s the type of video common today in our social media world, but rare back in 2000 when it sometimes took minutes to even log on to the worldwide web. Ten years after the premiere of Jackass on MTV, the third film in the series released to massive success.
Speaking of the internet then and now, in second place is the acclaimed film from writer Aaron Sorkin and director David Fincher about Facebook’s rise. The Social Network starred pre-Lex Luthor Jesse Eisenberg and a pre-Spiderman Andrew Garfield. The film received many awards, including a Best Picture at the Golden Globes and eight Oscar nominations (winning three). RED, a movie about retired assassinations, starred Bruce Willis, Helen Mirren, and more, and blasted its way the third spot. The sequel to Paranormal Activity landed in fourth, followed by Secretariat, a film about a horse that won a race.
October 2020 & Predictions
The box office is not a great place. Tenet is doing reasonably well considering the situation, but outside of that, it’s a wasteland. Several theater chains are closing shop for the foreseeable future after Disney announced delays to high-profile films like Black Widow until 2021. Who’s to know what the future holds for the silver screen. In the meantime, streaming services are cranking out content like there’s no tomorrow. So, at least we’ve all got something to watch. Maybe too much something, but that’s an article for another time.
Which of these films do you still watch today? Leave your thoughts in the comments below!
CHAMPIONS #1, available this Wednesday from Marvel Comics, is the turning point for many young heroes in the Marvel Universe. Thanks to Kamala’s Law, they are again being hunted as vigilantes, forcing every one of them to make a difficult decision.
The Champions are back and facing a battle like no other.
It all started in Outlawed*, where the Champions’ simple mission went horribly wrong, causing serious damage to heroes, students, and buildings alike. One of the most famously injured even got a law named after her.
Granted, Kamala isn’t exactly the sort to be happy about that particular law. In Ms. Marvel #14, fans get an inside look at how she reacted to all of the news she missed out on while she was temporarily out of action.
Like the Superhuman Registration Act, this is an event that will define the heroes that come through it. Underage heroes have limited options. They can retire (until they are of age), they can sign up with an approved hero (likely a shortlist), or they can fight. Enter Champions #1, where the heroes of this generation step up to make their decisions.
It’s Kamala’s turn to speak out.
The Writing
It’s safe to say that fans have been waiting a long time (almost a year) for the events in Champions #1 Ever since Outlawed dropped and changed everything. It’s so easy to draw comparisons between the Superhuman Registration Act and C.R.A.D.L.E.
Yet Eve L. Ewing has also made this event unique to the younger generation. It’s provided a voice to a younger audience. This issue is all about younger heroes, from Miles Morales to Kamala Khan, finding their voices and speaking up.
It’s something that many readers should be able to connect with, even if they will never have to go about hiding superpowers or anything on that scale. The message still hits home, proving that Marvel knows how to tie current events into their universe.
It is both intriguing and compelling to see the lines being drawn in the sand. Thanks to the time constraints (and the sheer number of young heroes involved), some opinions feel like vignettes, yet a clear picture has been painted.
This issue is very much setting up for something larger – that in itself shouldn’t be a surprise. The battle the Champions face has only just begun. With as much buildup as we’ve seen, it couldn’t be any other way.
The Outlaw Generation, it has a ring to it, doesn’t it?
The Art
The artwork inside Champions #1 is as bold and bright as the heroes it portrays. Unsurprisingly, there’s a lot of strong emotions portrayed within this issue, all of which set the tone for what is to come.
Simone Di Meto is the lead artist and did an impressive job of including so many heroes in one space. As always, it’s clear at just a glance who each character is. Even when not verbalized, their opinions feel clear as their faces, and body language practically screams what is going through their heads. It bridges the gap between show and tell and allowed for group opinions to form on very little time.
To say that a lot is going on within these pages would be an understatement. Each page, every panel, is full to the brim of details and motion. It’s a feast for the eyes, with many favorite characters making appearances (with some feeling like it has been far too long).
Federico Blee’s colors bring everything to life. The vibrancy demands attention, while also very much being in the classic style of the Champions. The highlights for coloring surely revolve around the distinction between those appearing through technological means and those who are physically there.
Last, but certainly not least, there’s the lettering. Provided by VC’s Clayton Cowles, the lettering literally brings everything together. Minor details and alterations make it immediately clear who has taken charge of the dialogue, without any need to vocalize that fact. It’s subtle yet impressively done, as was the issue as a whole.
Not everyone is so keen on Ms. Marvel’s message.
Conclusion
Champions #1 is every bit the dramatic return that the heroes deserved – though the circumstances are far from triumphant. This issue brings back heroes who have fallen to the wayside, all while setting the scene for what will surely become a major event in Marvel history. Not just for the heroes involved, but for everyone.
*Reading Outlawed, or individual Champions issues (Ms. Marvel, Miles Morales: Spider-Man) isn’t a requirement to understand this issue. However, it will add a significant amount of context to the situation. Additionally, this issue will contain some spoilers for those events, obviously.
Valiant Entertainment relaunched X-O Manowar this year with writer Dennis “Hopeless” Hallum and artist Emilio Laiso. After a lengthy delay due to the pandemic, the second issue hits your local comic book store on November 25. Monkeys Fighting Robots caught up with Hallum to talk about the new series, the importance of positive male role models, and how Aric fits in 2020.
Enjoy the Dennis “Hopeless” Hallum Interview Below:
MFR: Dennis, thank you for taking the time to talk with me. There are more than a few epic comic book creators coming out of the lower Midwest region. What is going on over there?
DENNIS:Umm… Stupid hot summers and long cold winters to hide inside with your imagination. But mostly, I think it’s the siren song of cheap real estate.
MFR: X-O Manowar first appeared in 1992; what audience are you writing this book for?
DENNIS:Ours is about a new stage in X-O’s life. All of his experiences from the previous series have shaped him and informed how he looks at the world, but this new chapter starts here… Which makes it a great story for longtime X-O fans and people brand new to the character. We’re focused on building an exciting new story and world around X-O with issue #1 as the jumping on point.
MFR: What are the core elements that form X-O Manowar, to where if you removed one, the character would no longer be X-O Manowar?
DENNIS:X-O is an action movie character through and through. Conan and Robocop are as much a part of his DNA as anything superheroic. Aric is the guy flying straight through the firestorm with his teeth-bared, ready to wreck whatever villain he finds on the other side. We try to keep that in mind with every issue. We’re doing a lot of character and world-building in this series, but X-O has to be X-O.
MFR: X-O is a title and character born from the 90s; how do you plan to reinvent the character to fit today’s norms?
DENNIS:X-O is fun in that regard because Aric is a man out of time. He was raised on swords and shields to fight for his people against the Roman Empire. Modern society was foreign to him when he got here and progresses at a pace he’ll never get used to. Our series doesn’t so much reinvent him as throw him in the deep end of the social media era and force him to swim. Fortunately, he has his sentient armor partner Shanhara to help him stay afloat… Or at least tell him when he starts to drown.
MFR: The definition of what it means to be a man is evolving. What was acceptable even five years ago is no longer acceptable in today’s society. Do you look at a character like X-O and think about your responsibility as a potential role-model to young men?
DENNIS:Absolutely. X-O has always solved a lot of problems with brute force because he has the instincts of a Visigoth warrior and wields the brutiest force of all time. That makes for fun action sequences but doesn’t translate well into the real world. I have two six-year-old sons, and we talk a lot about what happens when they try to resolve conflicts with their fists. More fists, followed by tears. The way we deal with that very real problem in the series is to really focus on the consequences of X-O’s violence. When he smashes a helicopter in the middle of the city, homes are destroyed. Buildings have to be rebuilt. When he flies over and ends a civil war… It creates a dangerous power vacuum. There’s failure baked into Aric’s success, and with Shanhara’s help, he gets to learn and grow from it.
MFR: X-O is the most powerful weapon in the universe. Without a Lois Lane type of character, how do you ground X-O, so the reader has something to relate to?
DENNIS:We’ve created a love interest for Aric named Rory Road. She’s a cable news anchor who… Just kidding.
We are quite literally grounding the character in a neighborhood that he accidentally destroys (possibly more than once). Becoming a part of the community as he physically rebuilds it. Aric is a time-traveling, space war veteran superhero, but he’s also a person. People need people, so… we’re giving him some.
MFR: How is your relationship with artist Emilio Laiso? Do you write tight scripts, or do you give Emilio a chance to flex his artistic muscles?
DENNIS:Emilio and I worked together on a Spider-Man book last year, so I know what he can do and trust him completely. My scripts are relatively tight because that’s how my brain works, but he has all the rope he wants to change and improve the story. Collaboration is the best part of this job, and Emilio makes us all look good, so we let him.
MFR: When Ruth Redmond dropped color on the first issue, did you have a conversation about which palette to use?
DENNIS:No, but I love the palette. Color theory is well outside my lane, so I keep my nose out. The book is undeniably gorgeous though. I’m thrilled with the art team, soup to nuts.
MFR: With the pandemic, your book has been delayed. How will all the events of 2020 (COVID-19, BLM, Election, Wild Fires, Murder Hornets, etc.) influence your writing moving forward?
DENNIS:It obviously wasn’t intentional because we plotted the book long before most of those things were making headlines… But I think the current social climate lines up pretty well with a lot of our themes. This is a complicated world with some insurmountable problems that don’t have obvious solutions. You can’t punch a virus in the face. Good and evil isn’t as simple as cops and robbers. And even if you’re doing what seems right and just and best for everyone, a big swath of humanity will think you’ve messed up. X-O Manowar couldn’t fly in and fix the world overnight even if he was real, so we’re obviously not going to do it with a comic book… But I do think these issues are worth discussing, and fiction has always been a powerful conversation starter.
MFR: With the events of the pandemic, the comic book industry was forced to evolve. What do you think the world of comic books will look like ten years from now (2030)?
DENNIS:More voices than ever before. More ways to get comics and more places to show off the ones you’ve made. It seems like retail and distribution systems are in flux right now, trying to deal with a world that was already changing and then took a massive leap almost overnight when the pandemic hit. That could shake out a lot of different ways, and I’m not sure anyone knows for sure where things will settle… But readers still want to read comics, and we all still want to make them, so I’m optimistic about the future.
MFR: Dennis, thank you again for your time, and best of luck with X-O Manowar!
DENNIS:Thank you!
Do you have X-O Manowar on your pull list? Comment below with your thoughts.
The ancient Swordbearers prepare for battle in this exclusive Marvel Comics video preview for X OF SWORDS: STASIS #1, available on October 28th. Written by Jonathan Hickman, the Swordbearers of Arakko are called forth in the tournament against Earth’s mutants, with the Earth itself as the prize.
Says artist Pepe Larraz about the design of the Swordbearers: “The swordbearers had to look as dangerous as possible. They had to tell a story of fighting for survival over a millennia; a story of ancient times, deadly violence and a brutal kind of beauty,…”
You can check out the issue’s cover, the video preview, and read the full Marvel press release below.
Is X OF SWORDS your must-have event this year? Let us know what you think in the Comments section, and please share this post on social media using the links below.
THE X-MEN CONFRONT THE SWORDBEARERS OF ARAKKO IN THE NEW X OF SWORDS: STASIS TRAILER!
New York, NY— October 1, 2020 — X OF SWORDS, the epic X-Men crossover that represents the next chapter in Jonathan Hickman’s bold new vision for mutantkind, is now underway! In the action-packed beginning of the biggest X-Men story since HOUSE OFX, fans everywhere finally learned about the deadly conflict that lies at the center of this mutant milestone.
The new mutant nation of Krakoa is under threat of invasion by the inhabitants of the lost land known as Arakko, and Saturnyne, the Omniversal Majestrix, has devised a delightful way to settle this ancient dispute— a thrilling tournament!
Ten champions from each nation will gather mythical swords to wield in duels that will determine the very future of mutankind. Ten X-Men will rise up to defend their home. But who are the mysterious new characters that will be called to battle on behalf of Arakko? Meet the swordbearers of Arakko, a host of exciting new characters that will go on to play major roles in the X-Men saga moving forward. Get your first glimpse at Solem, Pogg Ur-Pogg, Isca the Unbeaten, and more in the exciting
“The swordbearers had to look as dangerous as possible. They had to tell a story of fighting for survival over a millennia; a story of ancient times, deadly violence and a brutal kind of beauty,” superstar artist Pepe Larraz said about his designs for the X-Men’s deadly new enemies. “In designing them, I mixed elements inspired by Egyptian culture, Laamb (Senegalese fighting), Donga (Ethiopian spear fighting), Nuba body-paint, postmodern minimal fashion, Thierry Le Goues’ photography, Maori weaponry, and biomimicry, among other things. Well, and a giant crocodile with four arms…”
Prepare yourself for more unbelievable revelations about these new characters when X OF SWORDS: STASIS #1 arrives on October 28th!
The Haunting of Bly Manor will offer plenty of scares, but underneath the terror is a marvelous love tale. Two years after The Haunting of Hill House, Mike Flanagan returns with another immaculate series. Much like its predecessor, The Haunting of Bly Manor will captivate audiences with its likable characters, brilliant performances, spooky ghosts, and a story that every person can learn from. This series addresses life and death in a beautifully poetic manner.
In the past, Flanagan has made it clear that The Haunting of Bly Manor is a gothic romance, and he meant that wholeheartedly. This series will make some cry, laugh, smile, and scream with terror. At its core, this is probably one of the best love stories told from the horror genre. Flanagan and his team have no issue taking you on a thought-provoking journey through the haunted halls of the Bly estate. loosely based on Henry James’ The Turn of the Screw, The Haunting of Bly Manor stars Victoria Pedretti, Oliver Cohen, Amelia Eve, T’Nia Miller, Rahul Kohli, Tahirah Sharif, Amelie Smith, Benjamin Ainsworth, Kate Siegel, Catherine Parker, and Henry Thomas.
The Bly estate in The Haunting of Bly Manor
This gothic tale takes place in the 1980s and follows Dani Clayton, a young governess hired by Henry Wingrave (Thomas) to look after his niece and nephew at the family country house after they become his responsibility. Their previous au pair, Rebecca Jessel (Sharif), unfortunately, has left the picture. Upon arrival, Dani is greeted by Flora (Smith) and Miles (Ainsworth) Wingrave, Owen (Kohli), and Hannah Grose (Miller). There is another character Dani meets, later on, Jamie (Eve). Each has their own roles to fill at the manor just like Dani, their new guest. Owen is a chef, Hannah is the groundskeeper, and Jamie is the gardener. They all have suffered some sort of loss, and that’s what unites them as they come to terms with their own grief. Dani is haunted by apparitions during her stay, and these apparitions are held together by the grips of a heartbroken soul.
It’s worth noting that the series kicks off in Northern California at a wedding, but the year is 2007. Most of the central story is placed in France during the 1980s, and it all leads to a beautifully wrapped conclusion. Dani, the young governess, is an American overwhelmed with grief, haunted by a ghostly image, and wants to move on from it. She hopes to make an impact in the lives of these two orphans, Flora and Miles. Miles returned home early from boarding school after being kicked out. Flora, his younger sister is absolutely splendid and lights up every room she enters. Every character is heartbroken, and these broken hearts are what makes them so likable. The Haunting of Bly Manor effectively develops each resident of Bly, so viewers will understand the pain they are going through, or have felt.
Flora at Bly in The Haunting of Bly Manor
As mentioned, The Haunting of Bly Manor is a love story, but it’s also a story about accepting that life has a beginning and an ending. Love isn’t easy, but if you find the right person it’s worth enduring the pain that comes with it. The writing is so detailed and heartfelt, it makes these characters more relatable. Similar to Hill House, this new story offers characters that have several layers, and each one has dealt with a tragedy that anyone watching can relate to. It addresses these hard themes of mortality and life after death in a way that will warm everyone’s heart. The Haunting of Bly Manor is horror, but the horror is heartwarming while being terrifying.
Pedretti is amazing, as is the rest of the cast, but there is a standout performance for myself, and it comes from Siegel who is only in one episode. This is a stand-alone episode, and the series has yet to reveal its title, but Siegel is fantastic here. She’s always been an incredible actress, and this performance was just another example of the talent she possesses. It’s a heartwarming, depressing, and emotionally draining performance to watch at times. Also, it’s accompanied by a wonderful narration from a surprise cast member. Her role is vital to the overall narrative, and she delivers the strongest performance. The Newton Brothers return to offer another superb score, and they make Siegel’s scenes that much better. She will have viewers glued as they stare with rapt attention, and many might find a reason to cry from it all because the story of her character is heartbreaking.
The lady in the lake in The Haunting of Bly Manor
The Haunting of Bly Manor is another triumphant outing for Flanagan, who has been a blessing to the horror genre for quite some time. While not as frightening as its predecessor, The Haunting of Bly Manor is a perfectly splendid adventure from start to finish. It offers compelling characters, stellar writing, and just an overall well-crafted horror story, with love as its centerpiece. A superior adaptation that fans of The Haunting of Hill House will equally love.
The Curse of Audrey Earnshaw is another solid addition to the list of religious horror films. In the past, films like The Witch have set the bar for what to expect from this subgenre. The Curse of Audrey Earnshaw isn’t without its flaws, but it’s another beautiful witch tale. A haunting tale about a devout community trying to rip apart a mother and daughter.
Folk horror has been a major staple for the genre these past years. Recently, Ari Aster’s Midsommar was the last major film to leave audiences feeling soulless. This year, The Curse of Audrey Earnshaw joins in on the fun. What makes this film so engaging, is its stellar lead performance and just how the horror unravels very slowly. Directed and written by Thomas Robert Lee, the film stars Catherine Walker, Sean McGinley, David LeReaney, Jessica Reynolds, Hannah Anderson, and Don Mckellar. The Curse of Audrey Earnshaw is set in a religious village where a mother and daughter are expected of witchcraft. A deadly plague has been removing all the crops and livestock, and these two are the unfortunate prime suspects.
Jessica Reynolds as Audrey in The Curse of Audrey Earnshaw
Agatha (Walker) and Audrey (Reynolds) Earnshaw are our central characters, Audrey was born during an event that occurred prior to the film, the eclipse. The circumstances of her birth are what lead to the drama regarding witchcraft. During this eclipse, a disease of sorts kills the soil and some residents in town. The Earnshaw’s were the only residence to be left unharmed, and that sparks the rumblings in town. In fact, Agatha has hidden Audrey from the town for the last seventeen years because of these dreadful circumstances. Audrey is indeed a witch, and the reception her mother receives from the townsfolk only makes matters worse. This script effectively establishes the awful upbringing Audrey has had to endure and the sacrifices her mother makes to keep her daughter safe. Agatha’s an outcast, and Lee does a terrific job at making you feel for this character’s situation.
Lee does enough with the narrative to suck you into this sense of hopelessness. The Curse of Audrey Earnshaw features an opening text to catch viewers up on what’s happening, but that seems to be pointless in the end. The resolution to the witchcraft occurring does involve a deal being made with the devil, but The Curse of Audrey Earnshaw leaves stuff for the viewer to interpret. The performances from everyone are strong, but Reynold’s portrayal of Audrey is one of this year’s best. Of course, not every character involved is fully developed, but these gut-wrenching performances make up for that. Reynold’s is fantastic as this young teenage girl, who just wants her mother to stand up for herself, as she views her as weak for letting the town mistreat her for all this time. Reynolds will have audiences fixed on her every move just like her character has the people in town who threaten her life, or wrong her mother.
The ritual in The Curse of Audrey Earnshaw
The Curse of Audrey Earnshaw stumbles slightly in its narrative. Very little is known about the townspeople to understand whether or not they truly deserve this suffering. Perhaps, diving into these characters a bit more would have justified some actions in the film. Still, Lee has crafted a very engaging film that makes you ask questions, but perhaps more should have been given at times. The Curse of Audrey Earnshaw will cause discomfort, it’s familiar territory, but Lee does a great job keeping you invested throughout. It features a chilling score that adds emotion to Audrey’s terrifying scenes, and beautiful cinematography as well.
While not something that many will find refreshing, The Curse of Audrey Earnshaw is a solid witch tale about a town gone to hell. It doesn’t offer any unique scenarios we haven’t already been exposed to, but it’s just yet another effective folk horror film. The Curse of Audrey Earnshaw is fine for what it is, and fans of the genre will find something to enjoy from it.
SCARENTHOOD #1 is out October 28th from IDW Publishing, and it is a chilling tale about hunting ghosts and demons (and being done in time to pick your kids up from school).
By writer/artist Nick Roche, colorist Chris O’Halloran, and letterer Shawn Lee, SCARENTHOOD is an Irish folk horror about four parents whose children attend the same pre-school. After disturbing an ancient evil in their small town, the group starts spending their days battling demons and uncovering a decades-old mystery, all while juggling their normal parental responsibilities.
Let’s not bury the lede here: this is the must-read new comic for this Halloween season.
What works so well about SCARENTHOOD is that the story is driven by real-life fears and insecurities. There is an inherent truth to the writing. Roche is a parent of a young girl himself, and he channeled all of his anxieties about being responsible for a tiny human into this book. So if you’re a parent yourself, you’ll probably find this comic extra striking and scary, but even those of us without kids will get a good fright. That’s because the character development is so strong right off the bat that you develop an immediate bond with this cast. So when the spooky stuff goes down, you feel genuine concern for these fictional parents and their fictional kids.
It’s not all allegory though, so don’t you fret horror fans: here be monsters, and they are terrifying.
Outside of story and character, good horror largely comes down to two more subtle things: atmosphere and pacing — and the SCARENTHOOD team nails both.
Roche has stated that O’Halloran is “utterly in control of the tone of each scene,” and that’s a good call because the man is a master colorist. Ice Cream Man fans already know about how O’Halloran’s muted colors can set a scene and send chills down your spine. In SCARENTHOOD, he’ll take you from “everything’s fine” to “sh*t just got real” on a dime. The way the color palette changes from scene to scene (or moment to moment) is a brilliant subliminal way to give readers the willies and put them on edge on a subconscious level.
And then there’s Roche’s designs of the world and characters. The settings are all taken from real life, so again there is that inherent truth to the story that enhances the horror. Because the world looks and feels real (and O’Halloran’s colors are again a huge part of that), it makes you feel like this story is real. Roche’s character designs are then more cartoony, and that’s genius in itself because it tricks your brain into thinking this is just a fun slice-of-life comic, making the horrifying elements all the more horrifying when they hit.
In terms of pacing, Roche utilizes multiple panels and close-ups to build tension and drama, which is crucial in horror storytelling. Lee’s lettering guides you through each scene at just the right speed so that tension grows naturally, and he delivers you at the pay-off point when your stress is at its zenith. There is a lot of dialogue in this issue, but it never bogs down a scene or slows you down thanks to Lee.
I have to say though, there is one splash page in this debut that is one of the most effective splash pages I’ve read this year. The way everything comes together — the build up to the splash, the “camera” angle Roche uses, O’Halloran’s colors, and Lee’s subtle lettering (there’s no actual dialogue in this moment, but Lee still plays a vital part) — it took my breath away and I felt that genuine concern I mentioned earlier.
Horror is a genre bogged down with tropes, but SCARENTHOOD feels fresh and original. Our heroes aren’t high schoolers, or babysitters, or homicide detectives — they’re parents who just want to do right by their kids. Roche, O’Halloran, and Lee are firing on all cylinders here, and they breathed new life into one of comics’ toughest genres.
Up On The Glass, a thriller from director Kevin Del Principe (Fashion of the Wolf), co-writer Nikki Brown (Those Little Monsters), stars Chelsea Kurtz (The Flash, Scandal) as a woman fighting back against the dark desires of an old friend.
Up On The Glass introduces viewers to Liz Shelton (Chelsea Kurtz) and husband Hunter. They’re a married couple who are doing well for themselves. The couple reunite with old college friends, including Jack (Chase Fein), who’s life is on the rocks. Jack’s fond of Liz and envious of his friend Hunter who seems to have it all. It’s a thriller full of characters with demons to face.
PopAxiom spoke with Chelsea about becoming an actor, learning on the fly, and surviving Up On The Glass.
New York Or Los Angeles
Chelsea Kurtz is from Cincinnati, Ohio, where she “got introduced to theatre early. I was in school plays when I was five or six. When I was 12, I started working with the Cincinnati Shakespeare Company, and I fell in love with Shakespeare and the classics. I was super nerdy.”
“I knew from then on,” Chelsea concludes, “that I wanted to go to school for acting and pursue it as a career.”
The road to making acting a career began at Boston University, where she studied acting. By the time those studies were at an end, Chelsea “intended to go to New York … But I asked the head of the program, a very 22-year-old question, ‘Where do you think I will work more?’ and he said, ‘You’re asking the wrong question.'”
“Forget about that,” Chelsea’s recalls the head of the program saying, “and think about where would you rather have a really bad day?”
Chelsea pondered the question. “I thought about being in N.Y. and getting on the subway back to an apartment, which I probably worked three jobs to afford. I thought about L.A. and being within 30 minutes of the ocean or desert or mountains.” Chelsea’s internal debate decided, “I would rather fail and struggle in Los Angeles.”
Chelsea was off to the City of Angels. “I hit the pavement and slowly but surely started working in T.V. and film. I’m a member of the theatre community.”
Being An Actor
The effects of the global pandemic altered how many things operate, particularly the T.V. and film industry. Today, more auditions or meetings take place over video calls. “It definitely becomes a full-service production that you’re putting on entirely on your own,” Chelsea says about making your video look its best.”
She adds, “You have to be aware of the rhythm of your neighborhood. Where I live in L.A., there’s a rooster next door, so you can’t do morning takes. If it’s a nice day, everyone lets their dogs out around 5 PM, and so there’s barking.”
Chelsea’s played a lot of different roles. How does she connect with roles as varied as superhero Black Bison on The Flash and campaign videographer Jennifer Fields on Scandal? There are some roles that I have an intuitive way into, and there are some that require a lot more attention and specificity and text work or research.”
“In The Flash,” Chelsea says, “I was playing a Lakota Sioux woman. To assume all Native American culture is the same is ridiculous. With a role like that, I put a lot of attention into making sure I understood the people I’m portraying.”
However, for Scandal, she “had to do a lot of stunt training and do underwater work.”
“I was learning how to lay in the water to look dead,” Chelsea shares, “and to make it so that air bubbles don’t come out of my nose. I had to be at one point in a trunk that goes underwater. I had to learn how to roll my body in such a way that looked like the car had fallen in, but also didn’t look like I was moving my own body.”
“That’s my favorite thing,” Chelsea declares about acting, “Different roles require different things, and that’s exciting.”
Is there an acting class that prepares actors for underwater action? “The kind of technical work that you do as an actor in training has to be applied improvisationally in pretty much everything you do.”
In the end, there’s only one simple truth about working through those on-the-fly experiences as an actor. “You can’t know how to do it until you try it.”
About Up On The Glass
Chelsea’s path to her role on Up On The Glass connected her with an old college friend. “We connected my senior year of school and stayed friends. She invited me to come in for Up On The Glass. I responded to the script and loved Kevin and Nikki. They asked if I wanted to come film in beautiful, small-town Lake Michigan, and I said: “F yeah!”
“Nikki and Kevin are ‘actors directors,'” Chelsea says, “They were diving into character work in the audition.”
The process of becoming Liz Shelton involved a lot of discussions and pondering “About Liz’s strength, and when you meet her in the film, she’s at a breaking point in her marriage. Also, the history that’s there with Chase Fein [Jack]. And how to bring to life all their history.”
Making Up On The Glass was an “on-going collaborative process … it was great. Because sometimes you do show up on set and just hear ‘stand over there. This is your framing.’ And that’s fine, but it’s great when you can build something together. I think it makes the whole greater than the sum of its parts.”
Chelsea shares a personal influence that helped bring Liz to life, “Liz is a character that reminds me of my mom. A good woman, who works hard and maybe carries some pain around and feels maybe made some choices she regrets, particularly about the men. I wanted to bring her energy. That’s something I tried to bring to Liz.”
In Chelsea’s words, she’d describe Up On The Glass as “a dark, emotional and psychological thriller. It explores the lives of people who feel trapped and end up wandering down the wrong paths.”
https://www.youtube.com/watch?v=TYuZVXKsSPI
Wrapping Up
“When I was growing up loving Shakespeare,” Chelsea recalls some inspirations early in her acting experience, “there were two actors, Jeremy Dubin and Giles Davies, who could do anything with language. They introduced me to so many technical aspects of acting that’s also the most creative and spontaneous like animal work and mask work. They showed me that it was art and not just play.”
“I’m a huge Gary Oldman fan,” Chelsea replies when asked about an actor she admires. “He’s such a chameleon, and there’s nothing he can’t do. So often, in his performances, I won’t recognize him. I have such admiration actors who can do that kind of work.”
What’s a dream project for the Up On The Glass star? “Well, this is funny because it’s already happening, and I’m pursuing it to the best of my abilities. I’m a huge Trekkie. I love Star Trek. So, if they want to put me anywhere … make me the janitor of the Enterprise, and I’ll be the happiest girl in the world. I’m a Next Generation diehard. I like Voyager, I like the Original okay, but I’m a Star Trek with Picard and the Enterprise girl.”
Up On The Glass is streaming on iTunes and Amazon. So, what’s next for Chelsea? “I was recently on an episode of Magnum P.I., which was a lot of fun. I got to film in Hawaii. I worked on Station 19. Since COVID, it’s been a lot of Zoom readings of plays.”
Is Up On The Glass on your watch list?
Thanks to Chelsea Kurtz and October Coast
for making this interview possible.
Vampires vs. the Bronx is a mix of better films but has a lot of heart. This film is like The Goonies, Fright Night, and Stand by Me all combined into one. It offers a message about gentrification and the importance of urban areas coming together to save their neighborhoods. An effective coming of age film that has a point to it, and tosses vampires into the mix.
Coming of age films always have a strong central message at the core, and its those messages being portrayed on-screen in unique ways that lead those films to be cult classics. Vampires vs. the Bronx is a humorous tale about a group of friends trying to save their neighborhood. This is another social commentary based film, but it doesn’t beat you over the head with its message. Directed and co-written by Osmany Rodriguez, the film stars Jaden Michael, Gerald Jones, Gregory Diaz, Sarah Gadon, Method Man, Coco Jones, and The Kid Mero. It follows a trio of friends, Miguel, Bobby, and Luis, who all live in the Bronx. A company is threatening the future of their neighborhood, so they team up to save it from gentrification and vampires.
Miguel and Luis in Vampires vs the Bronx
Following the patterns of The Boy Who Cried Wolf, none of the adults in town listen to these three kids. A real estate company is buying out the properties in this neighborhood, but these people are also vampires and no one listens till its to late, as usual. Michael, Bobby, and Luis are all likable characters since they are the nerds that don’t fit in. They have crushes on older girls and spend most of their free time at the local bodega. Rodriguez co-wrote the script with Blaise Hemingway, and it’s littered with cheesy jokes, racial subtext, bland adults, and almost exactly what you’d expect from this type of film. The decision to use vampires may be to draw a comparison to how these companies drain the former life of an area to create a new life for others.
Our main trio of friends are likable and developed enough where you can identify them starting as outcasts and becoming more accepted in their area as the film progresses. Their parents are generic and very formulaic. They offer nothing to the story outside of just being the authority over these kids. As for their performances, they are fine for what they have to work with, but I expect they’ll have better projects to shine in down the road. The chemistry between them is impeccable and highlights the friendship being portrayed. Gadon is great as Vivian, the leader of this awful vampire cult terrorizing the Bronx. Her delivery if fine, but none of these vampires are very intimidating. However, this can be because Vampires vs. the Bronx isn’t very serious anyway outside of being a message against gentrification.
Rodriguez balances horror and comedy just fine and chooses a very fast pace for most of the film. This decision gives the film a lot of energy, and it never grows tiring or overstays its welcome. Perhaps if the runtime were longer, some better decisions would have been made because the effects on these vampires are awful. During the more terrifying moments, Vivian’s crew of vampires decide to fly at times and the effects are just atrocious. Also, Vampires vs. the Bronx has a closing act that just felt forced in a way because of how each kid is given a subplot that amounts to nothing in the end. For instance, Bobby is being tempted by criminals to join a gang, and it’s never fully explored or made relevant in the end.
Vampires vs. the Bronx is effective at being a solid horror comedy but falters a bit in its narrative and poor effects. The central message is made clear, the performances are all great as well, but the poor effects will take you out of the film. Still, Vampires vs. the Bronx is a nice throwback to better films and is a lot of fun from start to finish.
