Living with Chucky (2022)

Living with Chucky (2022)

Dir. Kyra Elise Gardner

A documentary in which various cast and crew members from the Child's Play movies discuss their experiences of the filmmaking process and their relationship to the killer doll, Chucky.

The montage of clips near the beginning is a great reminder of why the knee-high slasher is such an iconic character; it made me want to re-watch all seven movies again. (The shitty reboot from 2009 is ignored, as it ought to be.)

For the most part, the doc follows a traditional formula, which is a collection of talking-heads clips arranged into a basic chronological narrative of the filmmaker's / editor's design, including words from actors Alex Vincent, Brad Dourif, Christine Elise, Jennifer Tilly, and Fiona Dourif. There's also input from some of the writers, producers, directors, and puppeteers.

As a Child's Play fan, I enjoyed it very much, but as a documentary it does stumble a little.

Jeff Wayne's Musical Version of The War of the Worlds (1978)

Jeff Wayne's Musical Version of The WotW (1978)

I don't personally regard every song on Jeff Wayne's début concept album to be perfect in itself, but when considered as a whole I feel it's a masterpiece of adaptation, design (including artwork) and aural joy. It's an album I've loved for 30+ years.

Actor Richard Burton narrates the story, based on H. G. Wells' famous 1898 novel; his euphonious baritones are perfectly suited to the work.

Completing the magic are a String and Prog Rock accompaniment, together creating a sweeping aura that carries the listener on a stirring, emotional journey. The changes in tone and dramatic intensity move it seamlessly from ominous to propitious, from elation to woe, all the while able to satisfy people in search of storytelling just as much as people in search of music. It's a work of art that's rich in imagery, content, and 1970s style.

Princess Mononoke (1997)

Princess Mononoke (1997)

Dir. Hayao Miyazaki

There's often an environmental message in Hayao Miyazaki's works, but it's much more aggressive in Princess Mononoke than in any Ghibli film that he'd made prior, and because of that it feels less safe.

It's Nature versus Industry in a war that neither side can win. Trapped in the middle is a village Prince named Ashitaka. The youth is unwilling to take sides, but at the same time is determined to put an end to the conflict. He's even prepared to die, if necessary.

The girl with the warpainted face on the cover is San. She sides with the animals, which gives her a very direct focus, initially, but, for reasons that are too spoilery to go into, she's also one of the more interesting characters.

Ghost in the Shell: Original Soundtrack (1995)

Ghost in the Shell: OST (1995)

Composed by Kenji Kawai

Kenji’s use of modern synthesised technology spliced with traditional Japanese instrumentation captures the very essence of the GitS film.

A female choir sets the tone on the opening track, but what follows is primarily minimalist, reliant on sparse percussion, chimes, bells, and an oddly eerie atmosphere. The feeling of floating in a sea is an apt analogy to describe the ominous embrace and peaceful, enveloping serenity of it.

It's both emotionally sombre and spiritually beautiful, which seems like an impossible contradiction to me. But I adore beautiful contradictions.

Return to the Planet of the Apes (1975)

Return to the Planet of the Apes (1975)

13 episodes, approx. 30 minutes each.

An animated TV Series that borrows characters from some of the previous Planet of the Apes live action productions but is nevertheless its own thing, requiring no prior franchise knowledge.

The ape-world is more technologically advanced than we'd seen before, with concrete buildings, televisions, and automobiles with internal combustion engines, putting it closer to Pierre Boulle's original 1963 novel than any of its film or TV predecessors had come.

The means by which the three human astronauts — 

Jeff Allen (Austin Stoker), Bill Hudson (Tom Williams), and Judy Franklin (Claudette Nevins) – get to the titular 'planet' is similar to how it was for Taylor and Brent in Films 01 and 02, respectively.

The relationship that the trio of astronauts have with chimpanzee scientists Cornelius (Edwin Mills) and Zira (Philippa Harris) is reminiscent of how it was with the human-sympathisers and Taylor, making it feel like some kind of parallel timeline.

Stray Cat Rock: Films (1970)

Stray Cat Rock: Films (1970-71)

Dirs. Yasuharu Hasebe / Toshiya Fujita

There are five movies in Nikkatsu's Stray Cat Rock / Alleycat Rock series, but they aren't connected in any meaningful way other than being thematically similar and each one having actress Meiko Kaji in a lead role.

In the first, 01. Stray Cat Rock: Delinquent Girl Boss (1970 / Dir. Yasuharu Hasebe) a group of street-savvy women, really just 'chicks' with knives and razor blades, fight for a purpose when a sukeban (delinquent girl) rides into town and provides guidance.

It's interesting seeing the traditional roles of the sexes reversed in a 70s setting, and exploring how rules are applied and disregarded in the contrasting arenas of the street and the boxing ring, but, ultimately, Delinquent Girl Boss is 80+ minutes of style over substance played out to a soundtrack of funky jazz and psychedelic rock. If Dir. Hasebe had further indulged his willingness to explore a film frame's role in the telling of a story, then things might've been better.

He-Man and the Masters of the Universe (1983-84)

He-Man and the MotU (1983-84)
Dirs. various | Seasons: 02 | Episodes: 130 (total), approx 23 mins each.

In theory, writing about the original MotU TV series should be a simple task because it isn't a difficult series to describe —  it's a mix of High Fantasy and Science Fiction, wrapped up in a 1980s bun — but the characters and their world have been such a defining part of my life that finding the words is proving to be difficult. It'll probably sound ridiculous, but if I could reach deep into my soul and paste that onto the page, much of what's there would be MotU-shaped.

Within the colourful blobs of joy would be identifiable forms. There'll be one that looks like a stone castle with a skull entrance. Next to it would be a jagged mountain with a giant snake wrapped around it. Elsewhere, you'd see a large cat the size of a lion, but green with orange stripes, and red armour on its back and head.

And there would be heroes, different in temperament but each one cut from the same cloth, standing together, poised to defend, strong in spirit and steadfast in purpose as they do their utmost to prevent the forces of evil from realising their selfish goals, lest the innocent suffer. A cliché it may be, but it's a cliché with a true heart, and that heart beats in time with my own. Put simply, I adore 1980s era MotU.

Perfect Blue (1997)

Perfect Blue (1997)

Dir. Satoshi Kon

PB explores the true cost of success for twenty-one-year-old Mima Kirigoe as she makes the difficult transition from beloved Japanese idol status to impressionable TV drama actress.

Eager to please, when the fiction in Mima's head overlaps with the fiction on the film set, shit gets real, with the kind of meaningful editing that Alfred Hitchcock might applaud, if he was alive.

Perfect Blue is director Satoshi Kon's début full-length movie, but it flows like it was his fourth or fifth. It's both a careful study of splintering, crumbling reality and a skilful exercise in artifice.

The result is a genre classic that's chilling, creepy, and can be uncomfortable viewing at times, but is highly recommended to fans of anime with bite.

Tactical Unit: The TV Movies (2008-09)

Tactical Unit: The TV Movies (2008-09)

Dirs. Various (see below)

Note: Five TV Movies that followed Johnnie To's PTU (2003). You don't need to have seen PTU in order to follow the story of each TU movie, but it might be helpful and it's such a good film that I feel compelled to encourage a viewing, anyhow.

Tactical Unit TV Movies in the order released:

01. In Tactical Unit: The Code (2008), directed by Wing-Cheong Law, three members of the PTU are captured on CCTV while beating up a civilian (i.e., crook), but the picture is grainy and their faces aren't clear. While an internal division that deals with corrupt cops tries to uncover the truth, the guilty trio hunt for the one man who can identify them: the man that they left bleeding in an alley. Ultimately, it's a race against time for both parties.

Star Trek: Picard - Season One (2020)

Star Trek: Picard - Season One (2020)

10 episodes, approx 44-55 minutes each.

Firstly, the important date stuff: it's set in the year 2399, which is twenty years after the tragic loss in ST: Nemesis (2002). We're told that Admiral Jean-Luc Picard (Patrick Stewart) has been retired from Starfleet for fourteen of those years. No longer trotting through the stars on impressive starships, he resides now at Chateau Picard, overseeing the family business. [1]

Visually, it's modern sci-fi, which means it's darkly lit, has glary lens flare (real and CGI), and periodically weighs every happy moment down with a semi-dystopian undertone. As someone who loves the bright, futuristic, optimistic look of The Next Generation era of Star Trek, it's an affront to my eyes on almost every level. Even so, I watched all 10 episodes, because there was room in my life for more Picard adventuring.

Blood into Wine (2010)

Blood into Wine (2010)

Dirs. Ryan Page + Christopher Pomerenke

A documentary about wine making, specifically the Caduceus brand wine produced by Maynard James Keenan and Eric Glomski on a vineyard in Arizona, of all places. I don't like wine, but I do like documentaries, so I gave it a try and enjoyed the majority of it.

Glomski's knowledge of geology and cultivation was thoroughly engaging, as were his feelings about our relationship with the natural world.

Maynard James Keenan, for those that don't recognise the name, is a singer / songwriter, most notably of Tool and A Perfect Circle. His contribution is equally as interesting, structured as a kind of creative journey with some deeply personal interludes. Not one for media-whoring, he doesn't succumb to ego, and doesn't come across as a typical 'Rock Star' asshole. [1]

Ju-on: Origins (2020)

Ju-on: Origins (2020)

Dir. Shô Miyake | 6 episodes, approx 29 mins each.

Despite the title, Origins isn't a prequel to the previous Ju-On films. Rather, it presents itself as something that's 'inspired by real events'.

Presumably, that's the same 'real' events that the original films were based on, which were dreamt up by Japanese filmmaker Takashi Shimizu.

The series also makes the claim that its story is "far more frightening than the movies" were.

The first falsehood enables it to benefit from the groundwork and reputation of Shimizu's works without being wholly tied to them, while simultaneously implying a level of spurious credibility by suggesting that it's more factual - more 'real world' and less 'fantasy' horror.

With regards the second half of the claim, and keeping in mind that fear is as subjective as humour, nothing in Origins came close to the horror of Ju-On: The Grudge (2002). The horror in Origins is more shock value grotesqueness than spine-chillingly supernatural happenings.

PTU: Police Tactical Unit (2003)

PTU: Police Tactical Unit (2003)

aka Tactical Unit: Into the Perilous Night

Dir. Johnnie To

A small team of Hong Kong Police Tactical Unit troopers search the streets for a comrade's missing gun over the course of one eventful night. They're the typical scumbag law enforcers that are common the world over, the kind that's ordinarily difficult to sympathise with, and yet somehow Dir. Johnnie To encourages viewers to do just that; and with each incremental, upwards notch of the danger level, one can stay fixedly right alongside them.

It didn't have a huge budget, but it evidently didn't need one. Instead, PTU has enough dramatic style and subtle humour to keep the meticulously paced slow burn of the story engaging until the various threads of the story meet and it becomes more than the sum of its parts; like the roads of a busy city, its avenues and pathways are interconnected.

There's music occasionally (by Chung Chi-wing) but mostly the sounds of the night-time streets are what's heard, functioning as another subtle but perfect connection to the environment.

Assassin's Creed Unity (2014)

Assassin's Creed Unity (2014)

Genre: Action / Adventure | Players: 1 / Multi | Developer: Ubisoft Montreal

AC: Unity was the first of the Ass series to be released on the new (at the time) eighth generation of home consoles; the PS4, etc.

Not being a timely sort of person, I first played it eight years later, in 2022. I should say 'first' and 'last' time because it's bloody awful and I won't be trudging through its story ever again.

To add insult to injury, it came out on the very same day as Ass Creed Rogue came out on the previous generation of consoles. Rogue wasn't perfect, but it was infinitely more playable in comparison to the 'next generation' Unity.

I'm reminded of the proverb 'with great power comes great responsibility', except in Ubisoft's case it's more like 'with greater processing power comes greater catastrophe'. I usually leave my glitch report until after I've mentioned gameplay, etc, but Unity has nothing of value to relay, so the glitch report is all there is!

Daimajin Kanon (2010)

Daimajin Kanon (2010)

26 episodes, approx 24 minutes each.

A Japanese tokusatsu show that has the usual explosive combat scenes scattered throughout, but the masked heroes aren't the main focus of the narrative. Instead, the story revolves around a pretty, young University student, Misaki Kanon (Yuka Rikuna), who moves to Tokyo in the hope of becoming a successful lyricist and singer.

To survive in a harsh environment, one needs to adopt an equally harsh attitude. For Misaki, the city is that environment. Her usual sensitive, fragile personality will be eaten alive if she doesn't do something uncharacteristic to protect it.

If you've watched any amount of Japanese animation, then you'll likely have encountered a similar set-up, but Misaki isn't as simpering as the full-blown animated stereotype typically is.

The ups and downs can be predicable and there are times when she could be accused of making a mountain out of a molehill, but the setbacks and departures from the daily routine add to the overall story when you consider her role in each one. Character growth needs challenges, irrespective of whether they're real or imagined.

The Ghost in the Shell: Global Neural Network (2018)

The Ghost in the Shell:

Global Neural Network (2018)

Authors: Max Gladstone / Alex de Campi / Genevieve Valentine / Brenden Fletcher | Illustrators: David López / Giannis Milonogiannis / Brent Schoonover / LRNZ | Page Count: 160

"There was something odd. Like an echo.
I need to go deeper."

Kodansha really do like to big-up their derivative Ghost in the Shell tie-in books. Previously they claimed to have delivered a 'definitive history' of the franchise (in the README). Now it's a 'historic collaboration' with series creator Shirow Masamune.

However, there's nothing in the book to suggest that Shirow had any input beyond granting permission for his characters and their world to be used.

It would be wrong of me to assume that was the case for sure, but given the publisher's actions to date I feel they'd be shouting it from rooftops if he'd truly been involved in any kind of meaningful hands on manner. If I ever find out the truth, I'll return and edit it in here.

What I know for sure is that the book includes four stories by four different authors and four different artists. In the order presented:

De Palma (2015)

De Palma (2015)

Dirs. Noah Baumbach + Jake Paltrow

A documentary about director Brian De Palma. It's a no-frills venture, with the titular subject sat in front of a fireplace for almost two hours sharing his views on both filmmaking, in general, and his own output within that once vibrant medium.

Relevant footage is intercut at opportune times, illustrating what's being discussed or to highlight a specific point. It probably goes without saying that it's aimed squarely at existing fans of his work, but be aware that a large portion of that footage will be spoilery in a very major way for anyone who hasn't seen the film(s) in advance.

It covers his entire career, up to that point in time, from early student works to Passion (2013).

But like De Palma himself acknowledges with a level of insightful acceptance, it's the period that spans the mid-70s to the mid-90s, from Sisters (1972) to Mission: Impossible (1996), that'll likely be of most interest to most people.

V/A: Presumed Guilty (1998)

Presumed Guilty (1998)

A compilation album presented as a protest against censorship in the music industry, particularly within the extreme metal genres. I believe the sentiment was genuine, but it's essentially a label sampler for the now defunct Misanthropy Records and its less well-known sub-labels Elfenblut and Heroine.

It's notable for containing half a dozen previously unreleased tracks from bands/artist who were on their roster at the time, namely Solstice; Burzum; Amber Asylum; Madder Mortem; Beyond Dawn; Endvra; and Monumentum. I'll add a full list of what's included at the post's end.

Ju-On: Films (2000-15)

Ju-On: Films (2000-15)

Dirs. Various

Ju-On's debut on screen was in 1998 as two short films created, written, and directed by Takashi Shimizu. Together they made up one half of a TV Movie named Gakkō no kaidan G (1998), but I'll be skipping those and going direct to the feature-length movies that followed. (The shorts are titled Katasumi and 4444444444, if you wish to research further.)

It might seem like the wrong approach to take, but it's not necessary to have seen them to enjoy what came after. Furthermore, the order below isn't even the one that I experienced them on first viewing, thanks to how they were released in the UK at the time. [1]

01. Ju-On: The Curse (2000 / Dir. Takashi Shimizu) was the first feature-length entry in the series. A straight-to-video (V-Cinema) release that came out two years before the more successful cinema-released film (#3 below). In general, the setting is a haunted house that makes 112 Ocean Avenue (Amityville) seem about as scary as a Wendy house. [2]

Ghost in the Shell: Stand Alone Complex: Manga (2010-14)

Episode 001: Section 9 (2010)

Author + Illustrator: Yu Kinutani | Page Count: 248

"[W]e've determined the contents of the brain are fake. So where's the real one?"

A number of cyborg Geishas have taken clients hostage, among them a high-ranking government official who at the time of his capture was engaging in some odd activities with the pretend ladies.

The Prime Minister summons the country's best counter-terrorist unit: Public Security Section 9. Led by the cybernetically enhanced Major Kusanagi, the team are called upon to not only resolve the situation, but to find out who's behind it, and why.

It's a manga adaptation of an anime TV series that was inspired by a film adaptation of a manga. If you're familiar with all of those things, then the book might be of interest to you, but know that it's the entire first episode of the GitS SAC anime in manga form - it's almost verbatim, except for some minor changes in the action scenes that don't alter the main storyline one bit. It's arguably less fun than watching the anime, so is probably best recommended for super-fans or folks who prefer manga, only.

The Muppet Christmas Carol (1992)

The Muppet Christmas Carol (1992)

Dir. Brian Henson

It's a suitable for all-ages adaptation of Dickens' classic novella but with Muppets. I could end the review there because it's technically correct, but the film deserves so much more than that.

There's humans, too, most notably Michal Caine, who plays the misrely Ebenezer Scrooge, a man who hates kindness and the charitable feelings that traditionally go/went hand in hand with the season. Despite being surrounded by furry puppets, Caine plays it straight, which was absolutely the correct approach. Doing it that way kept the tragedy of the character intact, which in turn helped ensure that the dramatic power of change is given its full dues.

The puppets have all the joy and exuberance they're known for, but with a masterful layer of pathos added to those that need it. If you want kids to experience the famous story but fear that other filmed adaptations may be too difficult or dreary for them, then I know of no better alternative than the Muppet version; it hits all the important notes and has heart to spare.

Transporter: The Series: Season 2 (2014)

Transporter: The Series: Season 2 (2014)

12 episodes, approx 45 minutes each.

Much changed between Season One and Two and not all of it's good change. Frank's (Chris Vance) attitude toward his job is the same — he's still a practical, matter-of-fact guy with a plan that tends to go tits-up before the halfway point — but now he's more like James Bond in how he goes about things.

I suspect that behind the scenes someone actually said 'Let’s make him more James Bond,' and they did, sadly. The B-Movie charm that existed previously is compromised, replaced by a TV production with aspirations of being a secret agent movie.

There are personnel changes, too. Carla (Andrea Osvárt), the woman that functioned as a mysterious liaison between the transporter and the often shady customer, is replaced by Catarina Boldieu.

Catarina (Violante Placido) does a similar job, but she's more active than Carla was. Her multilingual skills are an asset to Frank, so he occasionally has a need for her to accompany him on jobs.

Daimajin: Film Trilogy (1966)

Daimajin (aka Majin): Film Trilogy (1966)

Dirs. Various (see below)

A kaijū trilogy produced by Daiei, which is the studio that gave us the original Gamera franchise. The 'Majin' features in all three films, but their stories are otherwise unconnected.

01. The first entry, Daimajin (1966); aka Majin / Majin, the Monster of Terror / Majin, the Hideous Idol [Dir. Kimiyoshi Yasuda], is an altogether more sophisticated breed of film than the big turtle got. It's a quality jidaigeki about clans, control, and a merciless militaristic coup. It's a male dominated tale, but the few women that do feature wield the kind of power that matters.

The creature is like a crushing force of nature or an angry god's retribution personified, punishing the evils of mankind. It takes a long time for its 'kaijū' aspect to appear onscreen, but in all probability you won't miss it because the drama that occupies the remainder of the running time is excellent and holds its own. It keeps colours naturalistic but still manages to look beautiful.

Ghost in the Shell: SAC: Complete 1st and 2nd GIG (2018)

GitS: SAC: Complete 1st + 2nd GIG (2018)

Dirs. Various | Seasons: 2 | 52 episodes, approx 25 mins each [Make sure and stick around for the short Tachikomatic Days entries after the credits roll on each one!]

An 8-disc collection that contains all 52 episodes of the Stand Alone Complex TV series - that's 26 episodes apiece for each of the two seasons.

The year is 2030. Public Security Section 9 is a counter-terrorist branch funded by the Japanese government, a team of ass-kicking professionals that get the job done no matter what.

The world is overly dependent on cybernetic bodies; the web has become the medium of choice for terrorists and as a result there exists a large potential for cyber-crime and hacks.

Section 9 specialise in that area. Led by Major Motoko Kusanagi the team deal with corporate terrorism, kidnapping, human trafficking, Ghost hacks (a technique in which a subject's memories are replaced with false ones) and a host of other internal and external threats. They're the people that keep the rest of us safe, often without us even knowing they exist.

The Martian Chronicles (1950)

The Martian Chronicles (1950)

Author: Ray Bradbury | Page Count: 305 [1]

'The rockets came like locusts, swarming and settling in blooms of rosy smoke. And from the rockets ran men with hammers in their hands to beat the strange world into a shape that was familiar to the eye...'

TMP is Bradbury's account of mankind's attempts at colonising and taming the mysterious red planet. Like some of his other books, it's a 'fix-up novel', a collection of individual short stories that were penned over a number of years and later collected together with a newly written bridge narrative, a kind of literary glue.

He revised a few of the shorts and added intercalary chapters to help it better fit a novel's structure, but some discordance remains - none of which, it must be said, is enough to belittle the concept, in general.

Bradbury's Mars isn't the dusty, desolate, and craggy landscape that we've come to accept as the norm in modern sci-fi stories. It's ornate, delicate, an organic but equally stylistic extension of the planet's mystery and its peoples' imagination, which manifests as the kind of harmony that seems to exist perpetually out of mankind's reach.

Lifeforce (1985)

Lifeforce (1985) - International Cut

Dir. Tobe Hooper

Horror fans likely associate Tobe Hooper most with Texas and chainsaws, but sci-fi fans know him for naked space-vampires, too, which is Lifeforce (1985). It may not be universally hailed as a classic of the genre, but it sits comfortably on a list of cult films with practical effects that stand the test of time.

Based on a novel titled The Space Vampires (1976) by Colin Wilson, it's adapted to film by Dan O'Bannon. The first half is reminiscent of O'Bannon's work on another famous sci-fi film, namely Alien (1979), but, sadly, the second half loses focus and descends into a glorious mess. Your level of engagement at that time will greatly depend on whether or not you feel the 'glorious' things outshine the 'mess' things. I absolutely do feel that way.

Hawk the Slayer: Watch for Me in the Night (2023)

Hawk the Slayer: Watch for Me in the Night (2023)

Author: Garth Ennis | Illustrator: Henry Flint | Page Count: 128

"Since last you rode those awful paths, the black woods have almost doubled in size..."

Forty-three years! That's how long it took for a sequel to Hawk the Slayer (1980) to emerge. That's quite a span.

The only downside is the continuation is a comic book, not a movie. Wait, that's not a downside. It's quite the opposite, in fact, given how shit-awful modern fantasy movies are. The comic has no CGI, no extended universe crap, and no woke politics. That's a bona fide upside!

Was it worth the wait? No, but it did inspire me to rewatch the movie, so, again, I'm calling it a good thing.

Its story, written by Garth Ennis, of Hellblazer and Preacher fame, feels like an 80s B-Movie, which is how it should feel, in reverence to its predecessor.

It follows Hawk as he reunites with the remaining members of the Table of Five. Together with a couple of newbies, they go to thwart a great evil.

King Kong: The De Laurentiis Movies (1976–86)

King Kong (1976)

Dir. John Guillermin

The biggest difference between the original 1933 version and the 70s remake is that the latter movie is full colour. It wasn't the first Kong movie to use colour film stock, but it was the first English language one to do so.

The second major difference is that Kong is now a human actor in an ape suit, whereas previously he was a model that had been brought to life by the magic of stop motion animation. It seems as if Hollywood were taking cues from Japan, specifically Toho, who had used the King Kong character in their Godzilla franchise over a decade previously.

Likewise, the impressive scale model landscapes used in the Hollywood version seem to be inspired by Japan's movies. [1]

Motörhead: Overkill (1979)

Motörhead: Overkill (1979)

Note: post is dedicated to my cousin, for reasons that he'd understand.

Motörhead's eponymous début album came out in 1977 and established the band's sound well-enough, but two years later the classic line-up of Lemmy Kilmister on vocals and bass, Eddie Clarke on lead guitar, and Phil Taylor on drums delivered unto the world Overkill - the first truly great Motörhead album. I'm listening to it right now, for the umpteenth time.

Side One is a mini-masterpiece all by itself. It opens with a thunderous drum track that's so good it could make Apollo weep with jealousy. Lemmy's bass kicks in after a few seconds and thunders along like Odin on a pub-crawl. Then the guitars break, shredding the air like the pains of Osiris slain. When Motörhead play, even the Gods pay attention.

Ghost in the Shell 2: Innocence: After the Long Goodbye (2007)

GitS 2: Innocence: After the Long Goodbye (2007)

Author: Masaki Yamada | Translators: Yuji Oniki + Carl Gustav Horn / Page Count: 197 

"I'm not all that popular. At the same time, I hardly ever meet someone I like. In that sense, my life is balanced out."

A prequel to the second Ghost in the Shell feature film, Innocence (2004). Unlike most TV and film tie-in novels, this one is actually good - damn good.

It creates a singular narrative that doesn't rely heavily on the film, but it remains referential and respectful to it. Knowledge of the characters is obviously necessary to fully appreciate the small intricacies, but the text also manages to stand on its own two feet, admirably.

It's told first person, from the cyborg Batou's perspective. Batou isn't the most intelligent or passionate of individuals, so it may come as a surprise to find that his sensitive side, a secretive part of himself that he reserves for mostly one person in the films, could be so well-developed without compromising the integrity of the character. It gets deep into the mind of the man, the only part of him that's still human, to explore the themes of self that René Descartes popularised. That self-analysis is the novel's greatest strength, and what Ghost in the Shell is perfectly suited to.

Death Wish: Films (1974-94)

Death Wish: Films (1974-94)

Dir. Michael Winner / J. Lee Thompson / Allan A. Goldstein

In 01. Death Wish (1974 / Dir. Michael Winner) an average New Yorker named Paul Kersey (Charles Bronson) initiates a violent crusade of justice as he takes a stand against the street thugs and muggers that terrorise the good citizens of his city. It might sound lame and clichéd when written down, but in the mid-70s that kind of thing was still pushing boundaries, and Death Wish pushed more than most.

Dir. Michael Winner doesn't shy away from showing the harsh realities of the world in which a walk in the park at night-time is a very dicey activity.

It's a measured transition from law-abiding office worker to law-breaking vigilante, fuelled by a malady that eats away at the character's moral fibre, not an instant, explosive and unrealistic Arnie flick change.

The Matrix Comics: 20th Anniversary Edition (2019)

The Matrix Comics: 20th Anniversary Edition (2019)

Authors: Various | Illustrators: Various | Page Count: 400

"The answer. It's right there. I can touch it. It's beautiful. Simple. And it scares the hell out of me."

Beyond the infinite possibilities offered by a virtual world, part of what keeps The Matrix universe so appealing is that it hasn't been milked to death by a greedy studio. Exploitation and oversaturation would've killed it as easily as it does any other commodity.

I assume the Wachowski's had some hand in regulating that, so kudos to them and everyone else who stuck to their guns. Yes, one of the siblings made a fourth film, but not until eighteen years later. (Having said that, I'd really love another anime collection like The Animatrix.)

The 20th Anniversary Edition of The Matrix Comics combines both of the original TPB publications into one larger than normal US comic format HB book.

That in itself is a generous amount, but it also includes four stories that weren't in either of the two previous volumes, which came out in 2003 and 2005, respectively. After doing the maths, the 'anniversary' label must refer instead to the first Matrix film, which was released in cinemas in March 1999.

Torchwood: TV Series (2006-11)

Torchwood (2006-11)

Dirs: various | 4 Seasons | 41 episodes, approx 44-57 mins each.

A Doctor Who offshoot that was targeted at a more mature audience than its parent series. In theory that's an interesting prospect, but in reality the definition of 'mature' seems to have been derived from a yobbish, vulgar, and sex-obsessed teenager's personal diary.

Season 01 is particularly bad in that regard, as if the show's writers believed that profanity and multiple references to casual sex were compensation for a well-written script. [1]

Consequently, most of its episodes are a dismal and joyless slog through predominantly bland storytelling, populated with unlikable characters whose traits are more often than not reprehensible and shameful.

I suspect it's more due to blind luck than any kind of skilful plan that it managed not to turn the group's leader, Doctor Who's Captain Jack Harkness (John Barrowman), into the same. [2]

Serial Experiments Lain (1998)

Serial Experiments Lain (1998)

Dir. Ryūtarō Nakamura | 13 episodes, approx 24 minutes each.

Lain Iwakura is small for her age. She's reserved, quiet, and emotionally inexperienced. She has a small group of friends but their connection is tenuous, based more on shared location than on similar interests. That's the nature of the world in which Lain exists.

But there's more than one reality; the real world exists alongside the Wired. Among other things, the Wired is a network that allows communication between distant parties. It connects the individual to other individuals and enables information to be passed along. The synergy between the two existences has a profound maturing effect on the young Lain.

I've watched the series more than once and I'm positive there are things in it that I still haven't found. It's densely packed with subtleties and philosophical concepts. Where do we go when we die? How do we know we're alive? Did God create us? If so, then who created God?

Delta Force: Movie Trilogy (1986-91)

Delta Force: Movie Trilogy (1986-91)

Dirs. Various

01. Much of the first movie takes place onboard an aeroplane in flight, with an ensemble cast that's underused. Chief hijacker Abdul (Robert Forster) is moustachioed and menacing. but he didn't reckon on the Deltas doing their thing.

The opening shot sets movie's tone perfectly, for good or ill. The scene that follows, wherein special ops member Scott McCoy (Chuck Norris) does what other men won't, reinforces it tenfold: it's 80s action from Canon Films with rugged men and many guns (Dir. Menahem Golan).

The team wear covert black duds with a bright US flag patch on the arm lest the audience forget who they're cheering for, or the enemy forget who to shoot. Gotta keep those bullets flying.

If they get tired walking they have motorcycles that shoot mini-missiles. Abdul and his cronies are boned - even if Chuck is perpetually late to the party and Silvestri's music sucks.

.hack//4Koma (2010)

.hack//4Koma (2010)

Author: Koichi Sumimaru | Illustrator: Various |  Page Count: 192

"Your morals as a protagonist are being challenged, aren't they?"

A yonkoma, often shortened to 4koma, is a four-panel manga similar to the kind of thing you'd see in a Sunday newspaper, except that most yonkoma are read from top to bottom, not left to right horizontal.

The .hack yonkoma parodies Project .hack and .hack Conglomerate. The comedy is derived mostly from non-canon meetings, rivalries, awkward social situations, and typically friendly people being dicks to other characters. As such, in-jokes are definitely the order of the day, so if you're not very familiar with each person's usual demeanour, or the .hack world, in general, you'll miss most of the situational humour.

Transporter: The Series: Season 1 (2012)

Transporter: The Series: Season 1 (2012)

12 episodes, approx 45 minutes each.

British actor Chris Vance replaces Jason Statham as ex-SAS man Frank Martin in a spin-off from the Transporter movies. Frank's house is well-ordered and he carries a spare suit in the boot of his car. That's the kind of guy he is. He's also a resourceful driver that transports packages from A to B with no questions asked; discretion is paramount. He lives by his own code and is a stickler for the rules:

01. NEVER CHANGE THE DEAL.

02. NO NAMES.

03. NEVER OPEN THE PACKAGE.

He'll often quote one of them (for the audience's benefit) just a few minutes before breaking it.

Vance's portrayal of the character is more sympathetic than Stath's. He's a sucker for righting an injustice. He needs to be, though, because it isn't just 90 minutes of explosive escapism, it's an ongoing development in which the (anti)hero operates in a grey area of morality and law.

Ghost in the Shell 2: Innocence (2004)

Ghost in the Shell 2: Innocence (2004)

Dir. Mamoru Oshii

Loosely based on a story from the same Masamune Shirow manga as the first Ghost in the Shell film, Innocence is nevertheless very different to its predecessor.

I'm limited in what I can say because it'll be mostly spoiler, so I'll stick to basics: Section 9 members Batou and Togusa are assigned to investigate a series of 'gruesome murders' perpetrated by gynoids who thereafter end their own existence. The investigation opens doors to a great deal of spiralling philosophy and musings on the nature of humanity.

The animation and character movement are superb, and backgrounds are even more detailed than before, with exquisite lighting - although the latter has a deep brown / coppery tint that won't be to everyone's liking. The plot is at times mind-bending and at other times simple and understatedly heartfelt. It's certainly not passive viewing, so you'll need to engage and question what you're given if you want to get the most from it.

Mötley Crüe: The Dirt: Declassified (2023)

Mötley Crüe: The Dirt: Declassified (2023)

Author: Leah Moore | Illustrators: David Cabeza (with John K Snyder III / Patricio Delpeche / Armitano / Vasilis Lolos) | Page Count: 160

 

"I don't have time for this shit!"

It's not the first time that members of Mötley Crüe have been seen in a comic book format, but, as far I know, they've not been depicted as undercover government operatives before now. That's the premise. I shit you not. And things don't get any better from there.

The story sees the band reforming, but it's a front so that they can tour specific locations and investigate why teenage music fans are turning into 'zombies'.

Something that ridiculous must be a clever allegory, right? Perhaps a satirical commentary on the music business and its treatment of fans? Maybe it is. I'm certain it was meant to be silly fun, not taken seriously, but my feeling was that it was an ineptly written mess that lacked any redeeming subtext whatsoever.

The Adventure Game (1980-86)

The Adventure Game (1980-86)

22 episodes (split over 4 series), approx 26-45 mins each.

I've probably said on more than one occasion during my time on Blogger that it's been 20-30 years since I last saw [whatever the respective post is about] and didn't know if my memories of it were accurate, but never more so has that been applicable than with The Adventure Game.

I hadn't seen it since it originally aired, which is 37+ years ago, at time of writing (i.e., 2023).

In fact, the only parts of it that I could recall prior to watching it recently were a grumbling aspidistra plant on a tall stand, some odd plastic currency, a salamander, and — the part that I remembered most, like it was burned into my brain — the triangle grid pattern that's used to illustrate this post, known as the Vortex.

Mayhem: De Mysteriis Dom Sathanas (1994)

Mayhem: De Mysteriis Dom Sathanas (1994)

Some folks hail Mayhem's first full-length album as the best thing since sliced bread, whereas others say it's a pile of overrated shit. I won't try to change any minds. I'll say only that you're in a better position to appreciate the array of quality riffs on offer once you get past tittering at the unintentionally comical vocals.

Hellhammer's impassioned drumming is a fervent heartbeat that slows and races but always keeps the momentum; how his arms didn't fly clean off his shoulders is a mystery.

Vikernes' bass is often too low in the mix for my liking, and Euronymous' guitar too high, but it can be cited as evidence that when the two men weren't plotting to kill each other they were capable of producing truly ground-breaking work.

Eastern Promises (2007)

Eastern Promises (2007)

Dir. David Cronenberg

Ordinarily, I prefer it when an actor is of the same nationality as the character they're playing onscreen; e.g., if a protagonist is supposed to be Scottish, then hire an actual Scot. It's especially beneficial in biopics, or when the character isn't a native English speaker in an English language setting.

Casting someone who understands on a fundamental level the culture that they're portraying allows an actor to tap into the unconscious influence that thinking in one's native language brings. If successful, it can permeate the performance and even accentuate or enrich any traits, nuances, etc, that can be consciously observed in specific nationalities. It's basic common sense.

But sometimes an actor can be so good in a role that such concerns are almost forgotten about when viewing. Viggo as a fictional Russian mobster in Cronenberg's Eastern Promises is on that list. It's his second collaboration with the director and it tops their first in every way.

Ghost in the Shell (1995)

Ghost in the Shell (1995)

Dir. Mamoru Oshii

Like many people outside of Asia my introduction to non-TV anime was Akira (1988); in my case, specifically, a UK VHS edition by Manga in 1991. There was an occasional good title in the slew of OVA crap thereafter, but Ghost in the Shell (1995) was a monumental leap forward in quality.

American-born author William Gibson had popularised cyberspace a decade before in his novel Neuromancer, but the mass appeal of movies over books meant that director Mamoru Oshii's adaptation of author Masamune Shirow's manga reached a wider audience in the same genre, making it kick mainstream ass in the process. The first GitS film was a landmark release that the world of sci-fi anime fandom collectively applauded.