Yeah, I know, I agree – John Woo’s THE KILLER is what we mean when we refer to “THE KILLER.” Where my KILLER tape at, etc. If we mean the Henry Silva one we say “that Henry Silva movie THE KILLER.” But now we also have to say “David Fincher’s THE KILLER.” And that’s okay. I never thought I’d be able to deal with there being two totally different Steve McQueens, but now I’m out there doing it every day. I believe we can get past this.
The title comes from Le Tueur, the name of the French comic book it’s based on. I don’t know it but it’s 13 volumes from 1998-2014, written by Matz and illustrated by Luc Jacamon. Matz (a.k.a. Alexis Nolent) also wrote Du Plomb Dans La Tete, which became Walter Hill’s BULLET TO THE HEAD. And he did another one called Cyclops that James Mangold was supposed to adapt in 2008, so that’s probly not happening anymore, but then again Fincher was first announced for this one way back in 2007. Anyway, it’s adapted by Andrew Kevin Walker, his first credited collaboration with Fincher since SE7EN, though he’s done rewrites on a bunch of them. (read the rest of this shit…)
Well, would you look at that? Guillermo del Toro (BLADE II) finally finished his stop motion version of Pinocchio! Looks like it was first announced 15 years ago. Like with his Frankenstein and his In the Mountains of Madness I’d kind of given up on it ever happening. Then when it clearly really was happening it was stop motion so it took some years.
After all that it’s kind of a bummer that it’s a Netflix production with too limited a theatrical release for me to see it on the big screen. But they do seem to be promoting it more than most of their movies, and maybe more people will watch it at home than would’ve if a real movie company put it out. I don’t know. The point is he finally got to make it (co-directing with Mark Gustafson, a Will Vinton claymation veteran and animation director for THE FANTASTIC MR. FOX). And even better, I think it’s really good.
I wasn’t sure I would love it. I was a little put off in the opening, because this Geppetto has a young son named Carlo who is… dare I say, pretty annoying? Something bothered me about this boy (Alfie Tempest) who seems to have no friends, life or interests outside of spending the day with his strangely-old-to-have-a-young-son father. Mrs. Vern said I hated Carlo because he was an obedient little boy, which made me realize why he had to be that way: he’s what Pinocchio will think he has to live up to. But I don’t know, man. Of course it’s incredibly sad for this elderly man to lose his young son and only friend, but it would move me even more if the kid wasn’t so damn cloying. (read the rest of this shit…)
THREE THOUSAND YEARS OF LONGING is the new George god damn Miller movie. So obviously you should see it. Here are some thoughts.
It makes sense, but also is really funny, that in the seven (!) years since MAD MAX: FURY ROAD this project was sometimes described as the small movie Miller wanted to make before diving into another Mad Max. The reason it makes sense is that it’s a simple love story centered around two characters, and much of it is one long conversation taking place inside a hotel room. The reason it’s funny is that one of the characters is telling stories set in different cultures and across centuries, with kings and queens and magic and imaginative creatures and many frames filled with too much meticulous detail to absorb in one viewing.
The best way I can describe it is that it’s a whole lot like Richard Linklater’s BEFORE movies, other than being in almost every way their opposite. (read the rest of this shit…)
Jim Jarmusch’s zombie comedy THE DEAD DON’T DIE is… I mean, it’s a zombie comedy by Jim Jarmusch. Which is unexpected. When the trailer came out I couldn’t tell if they were trying to mislead us or if Jarmusch had made something totally different from his other movies. The answer is in the middle, leaning toward the first one. It feels closer to normal Jarmusch than to, like, SHAUN OF THE DEAD. It’s high on oddness and quirk, low on concept, plot structure or traditional resolution. Compared to ZOMBIELAND or TUCKER AND DALE or something the humor is bone dry and the pace is molasses slow.
But by LIMITS OF CONTROL standards it’s an action packed thrill-o-rama. It has a whole bunch of zombies digging out of graves like Thriller or RETURN OF THE LIVING DEAD, pulling out people’s intestines for a snack, and getting their heads chopped or blown off. They’re respectable zombies, too – o.g. slow shambling style, some personality to them, one played by Iggy Pop (DEAD MAN, THE CROW: CITY OF ANGELS). There’s one pretty distinctive touch in that they emit puffs of dust from their wounds. I imagine Jarmusch worked with more FX people on this than on all his other movies combined. (read the rest of this shit…)
Luca Guadagnino’s SUSPIRIA (2018) is technically a remake of Dario Argento’s SUSPIRIA (1977), because it’s about an American named Susie Bannion going to a dance academy in Germany in 1977 where other students are turning up dead and weird shit is happening because it’s run by a coven of witches led by Mother Suspiriorum, The Mother of Sighs. But don’t expect to see any of the things you think of when you think of SUSPIRIA, like the colorful lighting, the maggots dropping from the ceiling or that room full of razor wire. Guadagnino (CALL ME BY YOUR NAME) doesn’t use the same look or any specific scenes or story points, he just plays with the basic idea. Now there’s more intra-coven political stuff going on, as well as news coverage of Baader-Meinhof bombings and the hijacking of Lufthansa Flight 181 by the Popular Front for the Liberation of Palestine, and a subplot about an old therapist looking for a patient who disappeared after telling him the school was run by witches, and also his wife (played by o.g. Susie Bannion Jessica Harper) disappeared during the war and he keeps thinking about her, and…
I mean it’s 52 minutes longer than the original so there’s alot more stuff going on. It bills itself as “Six Acts and an Epilogue in a Divided Berlin” (spoiler: actually should be Six Acts, an Epilogue, and a Brief, Uneventful Tag Near the End of the Credits). I appreciated the act breaks. (read the rest of this shit…)
This year THE HOST and SNOWPIERCER director Bong Joon-ho made a truly one-of-a-kind movie. OKJA is a sweet girl-and-her-creature tale like MY NEIGHBOR TOTORO after it has been swallowed by a vicious satire of corporate greed and man’s treatment of animals. It’s produced by Netflix with an international cast, many of them speaking English, but its wild shifts in tone make it feel safely within the tradition of South Korean cinema.
It already seems bug-nuts from the opening, when aggressively-faux-enlightened Mirando Corporation CEO Lucy Mirando (Tilda Swinton, CONSTANTINE) gives her colorful presentation about the “discovery” of the allegedly miraculously eco-friendly “superpig” species and their plan to give them to farmers in 26 cities around the world to raise for ten years using their local traditions and then to crown one as the best.
The decade passes, and young Mija (Ahn Seo-Hyun, the daughter in THE YELLOW SEA) lives an idyllic life in some mountains in Korea helping her grandfather (Byun Hee-bong, MEMORIES OF MURDER) take care of their superpig Okja. She’s bigger than a hippo – looks like a giant Eeyore – but limber enough to leap around like Ang Lee’s Hulk. Mija plays with her and rolls around on top of her belly and climbs inside her mouth to brush her teeth for her. (read the rest of this shit…)
In his latest vehicle, the King of DTV Action Scott Adkins plays “Lucian / Strong Zealot,” the right (or possibly left) hand man to a dark master of mystical world-bending sorcery magic spell power beams named Kaecilius (Mads Mikkelsen, VALHALLA RISING). Kaecilius was once a student of The Ancient One (international martial arts superstar Tilda Swinton, CONSTANTINE) but now suspects she is siphoning dark magic to extend her life and therefore steals a magic ritual from a special book of ancient something something, etc. So Lucian / Strong Zealot and another person are sent after The Ancient One’s new student Dr. Stephen Strange (Benedict Cumberbatch, WAR HORSE) to try to destroy his magic apartment in New York and they have a fight in a hospital where they’re both ghosts but it’s kind of weird because (SPOILER IN FIRST PARAGRAPH OF REVIEW) Benedict Cumberbatch defeats Scott Adkins.
And Scott Adkins as “the ghost of one of the minions.”
Okay, the truth is this is not a Scott Adkins movie. His character is small enough that when his big scene is described in an Entertainment Weekly article they don’t bother to credit him. It’s weird that as Marvel Studios continue to build this vast universe of re-usable characters they chose to use
1) Idris fucking Elba as “magic bridge operator”
2) Ray god damn Stevenson as “one of Thor’s friends that he has back home”
SNOWPIERCER, the Hollywood-stars/English words debut of South Korean director Bong Joon-ho, is the second best train movie I saw on the big screen in June. While UNDER SIEGE 2: DARK TERRITORY is DIE HARD on a boat on a train, SNOWPIERCER is the post-apocalypse on a train. The whole world has been frozen over, eradicating all life except for the lucky bastards that got onto a giant train that has been traveling a globe-spanning track for 17 years.
It has similar themes of class inequality to ELYSIUM and the HUNGER GAMESes, but I liked it quite a bit more than those. The concept is that the poor people live in squalor at the back and the rich people in luxury at the front. It’s a brutal dictatorship; the tail dwellers get threatened and beaten, limbs severed as punishment for defiance, fed nothing but green jelly protein bars. Every once in a while a lady in a pretty yellow dress comes back with a tape measure to size up which of their children to steal. You can just feel the anger and humiliation of the people when this shit happens. It’s easy to hate those motherfuckers. (read the rest of this shit…)
Now that GI JOE: RETALIATION has become GI JOE: PROCRASTINATION that means the big Bruce Willis movie of the summer to hold us off until EXPENDABLES 2 will have to be Wes Anderson’s MOONRISE KINGDOM. Bruce plays Captain Sharp, head of the Island Police, New Penzance Township, charged with the task of capturing a fugitive – Sam (Jared Gilman), a disturbed young orphan gone AWOL from the Khaki Scouts of North America, Troop 55, to run away with his also disturbed pen pal/girlfriend Suzy (Kara Hayward). (read the rest of this shit…)
Hey folks, Harry here in my geek recovery ward. Been getting a lot of reviews of CONSTANTINE in and it seems the more familiar with the comic the reviewer is, the more they dislike the film. Personally – other than seeing a lot of the covers, I’ve never been a big HELLBLAZER reader, and I found myself liking the film quite a bit. Almost exacly like Vern here, only less literate. Here he is…. on your knees, for he speaks…
Dear Harry,
Here is a review of a movie I saw starring Keanu Reeves (guy from the Matrixes)
Okay, first I got a warning for some of you comic strip wise guys out there. If you like the comic strip this movie is based on, DON’T WATCH THE MOVIE. It’s just not worth it, man. You’re gonna be mad because, according to my sources, in the comic strip the dude is British, and even if he wasn’t British, he wouldn’t be Keanu Reeves. Hey man I’m a purist too sometimes, I understand this. I’d be pissed if they made DIE HARD into a comic strip, but they got John McClane wearing shoes or something. Or playing a guitar. It’s gonna be hard to get past what they did here so forget it man, save your time, save the stress. Go get a massage or something. (read the rest of this shit…)
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if that's your thing:
1. Patreon
Toss me a couple bucks a month, support the good shit, also get access to a bunch of exclusive writing. This is my primary source of writing money that has allowed me to cut down to part time at the day job. Thank you!
2. Buy my books from your local bookseller or somebody
(NOTE: My ten year contract has passed on the Titan books, so I don't get residuals on them like I do WORM ON A HOOK and NIKETOWN, but I would love for you to read them because I'm proud of them)
EXTRA CREDIT: Review them on Amazon! That would really help me out. Unless you didn't like them, in which case forget I said anything.
3. If you ever buy from Amazon, go through my links or search engines
(you pay the same amount you were gonna pay anyway they cut me a little slice)
I also have an Amazon UK one:
(I can't get the search box widget to work anymore, so click on MOONWALKER and then search for what you want.)
4. My exciting line of fashion and leisure products
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5. Spread the word
Tell your friends about my reviews and my books and everything. Only cool people though please, we don't need a bunch of suckers and/or chumps around here.
THANKS EVERYBODY. YOUR FRIEND, VERN
* * * *
Recent commentary and jibber-jabber
MaggieMayPie on Trigger Warning: “I watched this the weekend that REBEL RIDGE came out. I went into Netflix to watch that and I saw…” Nov 20, 20:46
Matthew B. on Trigger Warning: “Anyone get the feeling that large chunks of act three went missing here? The big confrontation with Anthony Michael Hall,…” Nov 20, 18:24
Felix Ng on Trigger Warning: “I thought this was okay as well. Like an early 2000 Van Damme DTV.” Nov 20, 13:49
Skani on Dragged Across Concrete: “Yeah, this fucking guy’s a real trip. Sounds like his words “engendered” a lot of feelings, and I won’t even…” Nov 20, 13:04
Mr. Majestyk on Dragged Across Concrete: “That’s the sad part. All the ingredients are there for something great, but Zahler’s technique just pisses it all away…” Nov 20, 12:54
Crudnasty on Dragged Across Concrete: “Majestyk – I salute you for making it to the end to confirm that the entire runtime earns your contempt,…” Nov 20, 12:34
Mr. Majestyk on Le Samourai: “I want to thank everybody for the kind words. Sometimes I doubt my role in this ecosystem, as it seems…” Nov 20, 12:04
Mr. Majestyk on Dragged Across Concrete: “Sing it, Crudnasty. This remains my least favorite movie of the 21st century. Possibly of all time. I literally sold…” Nov 20, 11:51
Crudnasty on Dragged Across Concrete: “Benefit of the doctor = benefit of the doubt Apologies for the consequences of my furious swipe texting, but this…” Nov 20, 11:34
Crudnasty on Dragged Across Concrete: “Just started watching this on a whim, based on seeing the comments pop up and having seen Cell Block 99…” Nov 20, 11:32
Skani on Dragged Across Concrete: “I defended the movie at the time, but I do think Zahler is a weird dude, and I think Mel…” Nov 20, 10:24
CJ Holden on Trigger Warning: “When it came out, I joked on social media about this being actually a standup comedy special in which Jessica…” Nov 20, 10:13
Ishmael on Ebirah, Horror of the Deep: “One thing that always amuses me about Godzilla movies is how often between films people lose track of Godzilla. The…” Nov 20, 09:19
VERN on Dragged Across Concrete: “Both the violence and the racism depicted in the movie are fictional. I did not feel it was committing acts…” Nov 20, 09:15
Yeah, I know, I agree – John Woo’s THE KILLER is what we mean when we refer to “THE KILLER.” Where my KILLER tape at, etc. If we mean the Henry Silva one we say “that Henry Silva movie THE KILLER.” But now we also have to say “David Fincher’s THE KILLER.” And that’s okay. I never thought I’d be able to deal with there being two totally different Steve McQueens, but now I’m out there doing it every day. I believe we can get past this. 
Well, would you look at that? Guillermo del Toro (
THREE THOUSAND YEARS OF LONGING is the new George god damn Miller movie. So obviously you should see it. Here are some thoughts.
Jim Jarmusch’s zombie comedy THE DEAD DON’T DIE is… I mean, it’s a zombie comedy by Jim Jarmusch. Which is unexpected. When the trailer came out I couldn’t tell if they were trying to mislead us or if Jarmusch had made something totally different from his other movies. The answer is in the middle, leaning toward the first one. It feels closer to normal Jarmusch than to, like, SHAUN OF THE DEAD. It’s high on oddness and quirk, low on concept, plot structure or traditional resolution. Compared to 
SUSPIRI… uh…
This year THE HOST and 
In his latest vehicle, the King of DTV Action Scott Adkins plays “Lucian / Strong Zealot,” the right (or possibly left) hand man to a dark master of mystical world-bending sorcery magic spell power beams named Kaecilius (Mads Mikkelsen, 
SNOWPIERCER, the Hollywood-stars/English words debut of South Korean director Bong Joon-ho, is the second best train movie I saw on the big screen in June. While UNDER SIEGE 2: DARK TERRITORY is DIE HARD on a boat on a train, SNOWPIERCER is the post-apocalypse on a train. The whole world has been frozen over, eradicating all life except for the lucky bastards that got onto a giant train that has been traveling a globe-spanning track for 17 years.
Hey folks, Harry here in my geek recovery ward. Been getting a lot of reviews of CONSTANTINE in and it seems the more familiar with the comic the reviewer is, the more they dislike the film. Personally – other than seeing a lot of the covers, I’ve never been a big HELLBLAZER reader, and I found myself liking the film quite a bit. Almost exacly like Vern here, only less literate. Here he is…. on your knees, for he speaks…
