THE HYDE SEED--COVER SNEAK PEEK!!!

Here it is folks: from the imaginative mind of Ash Arceneaux...the cover for my upcoming Caliburn Press novella...THE HYDE SEED!!! (As you may recall, Arceneaux created the creepy cover for my monster-rally tale, FLASK OF EYES.)

Arceneaux's imagery for THE HYDE SEED represents my lead character well: a rising welterweight called Pepe Rodriguez, who throws it all away in the name of unrequited love...well, more or less. Pepe, like most of us, struggles with an inner demon: a spawn of heartbreak and self-doubt, which in his case, springs from out his battered brain to establish its own insidious existence.

Can Rodriguez defeat the horrid thing he's sown? Only time will tell, but until my Robert Louis Stevenson tribute reaches print, I trust Arceneaux's wicked artwork will more than than fill the gap. 

I saw the Boy...

I fancy weird doll/puppet/mannequin stories, whether they're supernatural or psychologically based. My interest piqued in my younger years upon viewing such ventriloquist-dummy movies as “Dead of Night '45”; “Devil Doll '64”; and the "Psycho" structured “Magic”, not to mention such creepy offshoots as "Dead Silence"; “Child’s Play”; “Puppet Master”; "Pin"; "Annabelle"; and “Dolly Dearest." Oh, and then there were all those terrific television shows with their fine variations on the theme, like "Twilight Zone"; “Alfred Hitchock Presents"; "Goosebumps” ; "Mrs. Columbo"; "Boris Karloff's Thriller"; and "American Horror Story".

The latest in this eerie sub-genre, "The Boy" (now available for home viewing), is produced by imagi-movie filmmaker, Tom Rosenberg and directed by "Devil Inside'"s William Brent Bell. It stars Lauren Cohan (yep, dear ol’ Maggie from “The Walking Dead”) as Greta, an American nanny hired by an elderly British couple, the Heelshires (Jim Norton and Diana Hardcastle), to work in a gloomy, old mansion  to tend to...well, this particular doll. 

It’s actually a realistic representation of a boy, thus the film’s title: a kind of uncanny-valley, porcelain-headed thing, which due to its finely sculpted detail, looks almost alive. Greta learns that the eccentric couple lost their son, Brahms, in a fire, and the doll now occupies his spot. In fact, the couple instructs Greta on Brahm's care, ensuring that she treats the fabrication like (in the Pinocchio vein) a real-live boy. That she follow instructions is most important since the couple plans to go away on "holiday". 

The doll actually insinuates behavior, moving from one place to another about the abode when Greta grows lax in her care of it. This prompts her to wonder if the doll isn't, in fact, inhabited by a spirit, and naturally Brahms comes to mind. 

Greta's new boyfriend, Malcolm (Rupert "Man in the High Castle" Evans), enlightens her on the boy's background, which helps explain the Heelshires' ritualistic lament. However, the more Greta tries to come to terms with the situation, the stranger things become, and before long, she finds herself frightened out of her wits by an entity that insists on her love. To complicate matters, Greta's old boyfriend, Cole (Ben Robson) comes to visit, but his need for renewed affection only irritates the odd bond. 

What ultimately develops doesn't quite slip into the territory of a rampaging Chucky or Zuni Doll; but in its own right, "The Boy" does become as relentless as any prior devil-doll incarnation, though with an unnerving, psychological twist, which leaves the conclusion wide open for a sequel. 

Bell makes excellent use of Stacey Menear's haunting script, carefully staging matters so that even when the film borders on familiarity, it still commands one's attention. Though it's hardly a Val Lewton imprint, it also employs enough of the famed filmmaker's shadowy nuances to be a throwback of sorts, raising it above most modern horror fare. 

For Cohan fans, the film will surely satisfy. Like her television persona, Greta remains resourceful throughout and in the home's ominous corridors, wavers between maternal instinct and the desperate need to stay alive. 

The big star of the film, of course, is the doll: an unforgettable entity for all of its simplicity. Daniel Pearl's photography helps much this regard, capturing the prop in such a way to make it look like a catatonic child.

Perhaps, "The Boy" is more an exercise in atmosphere than a cinematic ground breaker, but for those who fancy this sub-genre (and again, I'm one such admirer), this entry will more than hold its own. 

JESSE GUTIERREZ'S BEHIND THE PANELS/GOSSIP AND RUMORS SUPPLEMENT!!!

Jesse Gutierrez succeeds again with "Behind the Panels": a superb "gossip and rumors" supplement, which grants us a tour of the famed Bandido Studios, hosted by the enticing Erika Adams and featuring the tantalizing Tina and the adorable Q.T. Pie. 

This special edition offers plenty of Gutierrez's biting humor, granting us further insight into his Barrio Blues mythology. It also presents the expected, wide range of quirky characters. I, for one, had tons of fun reading and revisiting the various parts of the comedic romp--and of course, getting more than an eyeful of those lovely ladies.

If you're a connoisseur of Gutierrez's unique blend of movie-inspired storytelling, "Behind the Panels" is guaranteed to tickle your fancy; so hop on board and order your copy today.

You can touch base with Gutierrez through Facebook, under "Jesse Lalochezia Gutierrez" or "Bandido Studios Comics and Art", where other examples of his scintillating work can be found.

HAPPY MOTHER'S DAY 2016!!!

I saw Rogers vs Stark...

I confess, I’ve never fancied the concept of Marvel’s “Civil War”, and therefore, when I heard it to be the basis for “Captain America 3”, my heart sank. Of course, this didn’t mean the film would be a disappointment. It simply meant it would possess a contentious element, which seems to be the popular swing of things among superhero adventures these days: case in point,  “Batman v Superman”, "Teen Titans vs Justice League", and "Daredevil: Season 2". 

The appeal of civil conflicts can go either way, depending on how the content is rendered, but when it comes to rifts among good guys, there’s usually an intertwining trait at play: i.e., the story is both pleasing and upsetting. Directors Joe and Anthony' Russo's "Winter Soldier" follow-up, “Captain America: Civil War”, is an excellent example of that. 

The core concept, as presented by Cap bards, Stephen McFeely and Christopher Marcus, isn't too complicated (and similar to “Batman v Superman”): The Avengers have repeatedly saved the world, but widespread damage has occurred from their intervention, such as in the film's Nigerian opening. Consequently, General Thaddeus Ross (William Hurt) now helms a unit that intends to watch over the group. To extend his control, the general wants the heroes to sign a U.N. pact to curb their two-fisted enthusiasm if/when more trouble should appear. 

Indeed, the Hydra-purged government (ha, ha) is none too pleased with Steve Rogers/Cap America (Chris Evan)’s spontaneity when jumping to action, determining him more a liability than a benefactor. Though this will strike anyone who knows the hows and whys of Cap's plights as absurd, it's surprisingly Tony Stark (Robert Downey, Jr), a man who's otherwise bucked the system and acted cavalier through most of the long haul, who endorses the watchdog rationale; however, by supporting it, he also echoes Ross' myopic condemnation. 

Rogers argues against the restricting oversight, fearing it will lead to hesitation, which in turn will certainly allow adversaries to dominate and massacre the innocent. Considering the violent dimensions of previous chapters, Cap's concern is justified, and it's through his conviction that the story draws its strength, reminding us that Cap is a man of principle: a leader whose stance should hold unswerving weight and influence, even among those of his own kind.

Nevertheless, factions form. On Cap's side, we have Bucky Barnes/the Winter Soldier (Sebastian Stan); Sam Wilson/the Falcon (Anthony Mackie); Clint Barker/Hawkeye (Jeremy Renner); Wanda Maximoff/Scarlet Witch (Elizabeth Olsen), Scott Lang/Ant-Man (Paul Rudd); and Sharon Carter/Agent 13 (Emily VanCamp). On Stark's side, we have Rhodey Rhodes/War Machine (Don Cheadle); Natasha Romanoff/Black Widow (Scarlett Johansson); the Vision (Paul Bettany); behind-the-scenes Terrorist Agent Everett Ross (Martin Freeman); Prince T'Challa/Black Panther (Chadwick Boseman) and Peter Parker/Spider-man (Tom Holland). For what it's worth, Brock Rumlow/Crossbones (Frank Grillo) and Helmut Zemo (Daniel Bruhl) also make appearances: the latter a complex villain who nudges the animosity along, much like Jesse Eisenberg's Luthor in "Batman v Superman".

As one can infer from the overflow, “Civil War” isn’t really “Cap 3”, as much as it's “Avengers 3” or perhaps “Ultron: the Aftermath”. Though Cap stays at the center, he frequently finds himself competing with Stark for screen time, so that the film also begins to feel like "Iron Man 4" at times. For that matter, Cap also competes with all those for and against him. His purpose, which rang clear in “Winter Soldier”, now gets muffled in the bad-blood shuffle.

To add to the uneven dynamic, the newbies, Black Panther and Spider-man are conspicuously confined within the epic's colossal magnitude, even though they do on occasion shine. Spidey’s web-snapping of Cap’s iconic shield may go down as a classic moment, but it's also disquieting (despite Parker's avid reactions) due to its opposing brashness, and Panther’s need to comply with a stifling, governmental agency goes contrary to his mythological grain, even if his grudge toward Barnes remains understandable. It would have been wiser to relegate these two to cameos and then have focused on individual, cinematic chapters: for Spidey, a reboot to eclipse the mush-muddled “Amazing Spider-man 2” and for Panther, a comprehensive, two-hour intro, akin to what Ant-Man received. 

Though it's consistently painful to watch Cap's competitors keep rebounding, our hero's reaction to such is moving and identifiable. The world Cap knows, the morals he has long embraced, are now being ridiculed and defiled. The audacity of this builds to the point where Cap becomes a reluctant underdog and unfortunately turns the guilt-plagued Stark into a borderline villain: a twist that may strike some as blasphemous. 

However, as Stark's opposition widens, Cap’s bond with Barnes and Wilson strengthens, his friends' support projecting the best aspects of both (and yes, a remarkable feat for the sake of the former, considering the years of mental manipulation he's endured). However, their unflinching loyalty once more makes one wonder why Team Stark can't see it their way, and so the confusing, conflicting cycle continues. 

By the time the credits roll, the characters are still at odds, but at least with a sprinkling of  hope, thanks to a few gracious gestures from Iron Man, Panther and Widow. Unfortunately, to receive a full resolution, we're asked to show patience, and if there’s any one, overriding flaw in “Civil War”, it’s that.

Cap shouldn’t be put at prolonged odds with his fellow Avengers. Instead, he should be facing (and defeating) the revived Red Skull, teaming with S.H.I.E.L.D. to kick Hydra’s ass until the cows come home and making a succinct, patriotic statement in so doing. For all of its swift fight sequences and winsome CGI accompaniment, "Civil War" can’t avoid the fact that it opposes the most fundamental of comic-book adages: There are no shades of gray; only examples of good and bad. 

Fingers crossed that this thread doesn’t infinitely characterize future chapters. The sooner the divide halts and the good guys reassemble for a common cause, the more satisfying the escapades will be, not only for Cap and the gang, but for those of us who've long supported the Avengers' collective campaigns. 

Collectible Time #58: Hasbro 12" Titan Hero Tech War Machine and Mattel Dawn of Justice Batmobile

Nailed a Hasbro Titan Hero Tech 12" War Machine!!! 

The Don Cheadle/"Rhodey" Rhodes representation is a neat companion piece to the Titan Hero Tech Anthony Mackie/Falcon figure (see "Collectible Time #57": April '16) and is one of the best, inexpensive versions of the Iron Man's pal presently available, selling for about $20 - $25 at most department stores. 

Like other Titan Hero Tech figures, this "Civil War" entry sports 5 points of articulation. In addition to light-activated eyes (and nifty weaponry), War Machine elicits zooming/zapping sounds and utters such dynamic declarations as "Nice Shooting, Tony!"; "Let's do this"; and "War Machine reporting in!"

On the whole, it's the most aesthetically pleasing in the Titan Tech series, and I'm honored to own it. 

Also, as a companion piece to the Moebius/Affleck "Batman v Superman" Batmobile model kit (see "Collectible Time #56": April '16), I purchased Mattel's 15" "Dawn of Justice" Epic Strike toy counterpart. 

The Mattel version exudes a subdued brownish hue, comes with two Kryptonite trigger-launch missiles and features breakaway parts to reveal its rich, detailed circuitry. (The vehicle can also accommodate most 6" Batman/DC action figures.)

Like War Machine, this "Dawn of Justice" entry is one of the best going for the price, running about $20-$30 at most chains. Without question, if one desires a pre-constructed representation of the latest Batmobile, this is the one to get!!!

Houdini & Doyle Investigate the Uncanny!!!

I recently reviewed Airship 27’s “Amazing Harry Houdini, Vol. 1” (see April '16), which includes the story, "The Spear of Destiny" by James Palmer. The tale teams the famed escape artist/magician with his raconteur friend, Sir Arthur Conan Doyle on a mysterious sojourn. Though the story has no official link to the new series, “Houdini & Doyle”, the sources share a similar thread: real-life legends investigating the arcane. 

In keeping with "Amazing Harry Houdini'"s spirited and historical tone, the Canadian/U.K. series (produced by David “The Librarians” Titcher and David “House" Shore) offers much of the same weird wonderment throughout, blessed by distinguished leads: Michael Weston as Houdini; Stephen Mangan as Doyle; and as a special treat, Rebecca Liddiard as the pioneering Constable Adelaide Stratton. The show’s concept allows the principles to investigate off-kilter cases that Scotland Yard can’t quite crack. (It should also be noted that the investigations will unintentionally play upon ideas already established in "Amazing Harry Houdini"; for example, Bram Stoker appears in a later episode, though under different circumstances than in Jim Beard's "Houdini Brings the Curtain Down".)

As with their actual counterparts, the series' Houdini and Doyle are an unlikely duo, possessing different outlooks and approaches toward the real and unreal, and of course, their variances spill over into the mysteries they set out to solve. For the series' sake, they’re rather like early versions of “X-Files’” Scully and Mulder, but with an arguably more quarrelsome bent. At the same time, the show never entirely abandons its Sherlock Holmes ambiance, which gives the cases a proper, underlying chill. 

“Houdini & Doyle” airs Monday, May 2 on Fox (after “Gotham") and will offer ten episodes (a filler, in essence, for the station's late-spring scheduling), but if the ratings prove positive, we can pretty much anticipate more. As an admirer of both men, I have my fingers crossed that this one will continue, but if not, I'll be more than appreciative to savor what I can.