I saw the Invisible Man (2020)...

I hold H.G. Wells' novel, "The Invisible Man" in high regard, as well as the 1933, James Whale/Claude Rains classic, in addition to the many spinoffs (television series included) which have materialized over the decades.

For 2020, we're served another edition, written and directed by Leigh "Saw" Whannel: not quite "Hollow Man" per its modernization, but an engrossing, current-day thriller nevertheless, bracketed by the expected, science-fiction and horror elements.

The focus, however, bypasses Wells' erratic Dr. (Adrian) Griffin, portrayed by Oliver Jackson-Cohen, and falls instead on his girlfriend/victim, Cecilia Kass, portrayed by Elizabeth "Mad Men" Moss. Griffin (this version tells us) has always been a callous, controlling chap, even prior to his invisibility tinkering. For the sake of Whannel's retelling, the presumed-dead scientist goes on to stalk his dear Cecilia, much as would a belligerent ghost.

Cecilia reports her suspicions to friends and relations (Harriet Dyer, Storm Reed, Aldis Hodge and Michael Dorman), but her claim appears incredible, making look insane. Meanwhile, the addled Griffin ascends his abusive actions to the next surreptitious level. 

The set-up molds "Invisible Man '20" into a convincing, cat-and-mouse joust, but its crust is more a tale of high-tech bullying than insanity-slipping analysis. On this basis, "Invisible Man '20" becomes a face-value, monster movie within its chic dynamic. For fans of the genre, that's a good thing.

Alas, the monster in this instance is marginal. Griffin doesn't engage in impetuous exchanges with Cecilia nor does he sport creepy bandages and oddball spectacles for the sojourn. These omissions limit his presence, although he remains ever present. 

Even with Griffin's classic traits stripped, "Invisible Man '20" still sparks the scares, but part of me wonders if a frightening, period-piece version may have been preferable for the big screen. On the other hand, the likes of Netflix, EPIX or the BBC could yet return Griffin to his egotistical roots. Gosh, if "The War of the Worlds" has resurfaced with near-simultaneous versions (and each within different timelines), why not Well's transparent zealot?

SO LONG, BEN COOPER...

When it came to cowboy and action/adventure turf, you covered it in spades, Mr. Cooper, on both the big and small screen. 

On the theatrical circuit, you plunged full force into "The Raiders"; "Arizona Raiders"; "Gunfight at Comanche Creek"; ""Woman They Almost Lynched" (as Jesse James); ""Johnny Guitar"; "The Fastest Guitar Alive"; "Support Your Local Gunfighter"; "Lightning Jack"; "Red Tomahawk"; "Duel at Apache Wells"; "One More Train to Rob"; "Waco"; "The Outlaw's Son"; "Rebel in Town"; "The Outcast"; "The Last Command"; "Hell's Outpost"; "Chartroose Caboose"; "A Strange Adventure"; "The Eternal Sea"; "The Rose Tattoo"; and "A Perilous Journey".

On television, you visited the likes of "Bonanza"; "Tales of Wells Fargo"; "The Rifleman"; "Rawhide"; "Johnny Ringo"; "Wagon Train"; "Kung Fu"; "The Twilight Zone"; and "One Step Beyond".

Your diligence and amiable glint won't be soon forgotten. In fact, you're guaranteed eternal remembrance for an endurance that most actors may claim they've gain, but only a few may call their own. 

GOODBYE, ROBERT (BOB) COBERT...

You injected haunting moods into Dan Curtis' "Dark Shadows" (the classic serial, movies and remake series), plucking lush, melancholic chords that once heard, never left our collective consciousness.

Your distinct compositions gave great flavor as well to other Dan Curtis productions: "The Night Stalker"; "The Night Strangler"; "Kolchak: the Night Stalker"; "Trilogy of Terror"; "Trilogy of Terror II"; "Dead of Night '77"; "Dr. Jekyll and Mr. Hyde '68"; "Dracula '73"; "Frankenstein '73"; "The Picture of Dorian Gray '73"; "The Turn of the Screw" '74"; "The Norliss Tapes"; "Burnt Offerings"; "Scream of the Wolf"; "The Winds of War"; "War and Remembrance"; "Melvin Purvis, G-Man"; "The Kansas City Massacre"; "Me and the Kid"; and "The Last Ride of the Dalton Gang".

And let's not forget those darn, catchy tunes you wrote for "The Price is Right", "To Tell the Truth" and "The $25,000 Pyramid". 

You influenced our ears on so many levels, Mr. Cobert, and without your orchestrations, our lives would be nowhere near as expressive, let alone melodious. 

HAROLD NONO'S WE'RE ALMOST HOME: IRONIC NOISE FOR INFINITE TRAVEL

Electronic-music artist Harold Nono has constructed a new album for Bear Suit Records. It’s entitled We’re Almost Home and depicts reckless trips and lost chords, hopes dashed and relocated, all within thirteen, impressive tracks.

Some of the selections are dangerous yet exotic, such as “Menton Train Jump”, which is Oriental in flavor and perhaps rather bullying after one cracks the crust. The same can be said of “The Gurney Trips”, which invokes a shaky bridges in a chapter-plays, just itchin' to snap. "Shaking on an Iron Bed" and "The Fall Reprise" relate similar, stimulating bumps, while “The Shout” springs as the most startling among the cluster, spewing a metal rift that pushes one over the edge, reminding the traveler that peace never comes, even in light of a screeching halt. 

As with any trip, there are stops along the way. For example, "Gold Lane Neckhold" covers graveyard turf: cold and coarse in its tipped, stoned queues. On the neighboring side, "Ron's Mental Leap Coach" is a rubber-room drop: needle-pinched and full of spittle. "Annie and Bunny Got Fast-tracked" is the craziest of 'em all: a three-ring circus off the beaten path, with unchained beasts nibblin' one's heels and intoxicated acrobats smackin' one's back. 

"The Red Dream Submarine" represents a underwater breather, with misguided, socialist scams crashing beneath amber waves. "The Art of Rosa" bolsters the ruse further, presenting a gallery packed of modern art that may be praised, but remains empty at heart. "I Thought I was Driving" kicks the latter two farther down the road, with a prelude of lost-and-found rambunctiousness, cloaked by map-less confusion. 

"Let the Light In (Prince of Darkness)", however, returns one to a burp of sprawling distaste, with flames crackling beneath a hellish can of bubbling beans: dynamic for its pedestrian pulse and damn scary because of it. (BTW: This might be my favorite of the line-up, if only for its vast, chaotic expression.)

The album's juicy, last-but-not-least track, "Annie's Phantom Life Raft Choir" rolls a sea of static, upon which one rides with vague signs and torturous outtakes, not to mention passages that zig and zag into dark, water-clogged ditches: a sensible finale to Nono's epic, nihilistic sojourn. 

Drive along at 
https://bearsuitrecords.bandcamp.com/album/were-almost-home.

I saw the Boy II...

"Brahms: the Boy II" is a sequel (surprise, surprise) to "The Boy" (see May '16 post), and like director William Brent Bell's initial chapter, which oozes a "Psycho", "Magic", "Pin" and (to a lesser, though still evident) "Tourist Trap" angle, "The Boy II" probes its cerebral causes further, along with all the chilling side effects.

In other ways, the sequel is reminiscent of "Dead of Night '45", "The Devil Doll" and Rod Serling's "The Dummy", with a pronounced, supernatural motive. 

This chapter features Katie Holmes' Liza in lieu Lauren Cohan's Greta: the former the concerned mother of the tale's unfortunate antagonist, Jude, played by Christopher Convery. Owain Yeoman is the lad's caring but cynical father, Sean, who's as vexed as Liza over their son's obsession with a dirty doll he comes to call Brahms. Debate regarding the doll's possible cognition ensues, while a series of strange events implies that it's alive. (Ralph Ineson's Joseph helps accentuate the concern, becoming increasingly involved with the family.)

To add fuel to the fire, we learn that Jude was severely jarred by a home invasion, which leaves him mostly mute. It's this sad turn that has led the clan to seek solace within the vicinity of the creepy ol' Heelshire house: nice move! Still, it isn't so much the house's gloomy interiors that haunt the folks, but knowledge of what once roamed them: a wacko who existed in cahoots with Jude's beloved, pale-faced friend. 

Through Brahms' actions are subtle, he does influence the impressionable Jude in an enormous way, making the boy a perfect agent to orchestrate his disturbing games. On this basis, Brahms is a Chucky, Annabelle and Zuni Doll variant, just more patient in achieving his goals. (Perhaps because of his subtleties, one could argue that Brahms comes across as scarier than his more kinetic counterparts.) 

Ultimately, Liza ends up Brahms' object of utter disdain, giving Holmes many scenes to rule (much as she managed in the "Don't be Afraid of the Dark" remake). She's the one we empathize with, the one whose torment tingles our spine the most. (Credit for Liza's identifiable lure goes as well to Bell and Menear, who have a knack for making tension tick.)

On the whole, "The Boy II" is a pretty decent sequel, tipped by a twist that begs exploration. It won't matter if one hasn't seen the first film, and if this sequel is sequelized, it's safe say that it'll perform as the main spark for a full-fledged franchise. (That's generally the way it goes with these set-ups. They start small with an initial, cult entry and then--boom!--a pop-cultural phenomenon is born after the first follow-up.)

As to whether more chapters will, indeed, arrive is pure conjecture, but while the opportunity is at hand, give "The Boy II" a try.  It's weird enough to please most killer-doll/psychotic-killer fans, and for the present, that makes it a veritable success. 

GOODBYE, NICK (NICOLA) CUTI...

Most fans will say that E-Man and Nova Kane, Moonchild (Moonie), Brightstar, Starflake and Captain Cosmos were your crowning creations. However, your fifty-year career covered an immense array of contributions.

For example, you worked on "Conan the Adventurer"; "Sally Forth"; "Defenders of the Earth"; "Flash Gordon"; "Rocky Jones"; "Spanner's Galaxy"; "101 Dalmatians"; "Exo-Squad"; "Shattuck"; "Cannon"; "Michael Mauser, Private Eye"; "Dilbert"; and "Vampirella", as well as paying tender tribute to one of my favorite yarns, H.G. Wells' "The Time Machine". 

As a writer, artist and editor, you made DC, Marvel, Warren and Charlton all the superior for your hard work, rubbing elbows with the best of the best, of whom you were one.

You are the stuff of legend for good reason, Mr. Cuti, and your established visions will blaze your profound legacy into infinity.