All tagged series

It's Complicated; or, Why I Never Formally Reviewed It and Chapter Two

No matter what version of It you look at, It is a narrative driven by irrational fears. For example, I fear ever picking up a Stephen King novel that runs more than 800 pages again. It, the novel, is one of those texts that turned me into a fan of Stephen King’s short stories. Contained to a single story in a small format, King limits his ideas and cast of characters into twisted vignettes of life and anxiety defined by past trauma. In a meandering long form novel, he just keeps introducing more characters and more ideas that start to contradict each other until nothing makes sense.

Pokemon: Let's Go Eevee Review (Game Review, 2018)

This review is based on Pokemon: Let’s Go Eevee. I have not had hands-on time with Pokemon: Let’s Go Pikachu.

Pokemon: Let’s Go is the newest mainline game in the Pokemon series. It is a reimagining of the 1st Generation games set in the Kanto region. The series started with Pokemon Red/Blue when it was released internationally (originally Pokemon Red/Green/Blue were Japan-only releases, though Red/Green would eventually be released on the Virtual Console in 2016). The game combines elements of the original Red/Blue with the companion Pokemon plotline of Yellow (where Pikachu loved you so much at first sight, he refused to stay in a pokeball and walked with you instead) and the catching mechanics of Pokemon Go. It’s a lot to take in.

Blair Witch Review (Film, 2016) #31DaysofHorror

We’re at an interesting time in horror. The genre has always been a profitable mainstay for studios. The films do not have to cost much money or even be particularly good to turn a strong profit at the box office. Now, it seems easier than ever to launch a horror franchise. From Insidious pounding out haunted house/object sequel after haunted house/object sequel to The Purge spinning off into a television series after four films, films made on a shoestring budget are quickly turning into the new horror mainstays.

The Predator Review (Film, 2018)

Does a B-movie celebrating its status as a B-movie forgive it from embracing problematic elements of B-movie history long after we stopped accepting these harmful tropes? That’s a hard question to answer. There are films that wield those tropes as a weapon against a history of microaggressions and abusive content, and there are films that think they get away with it just because others have done it worse. Then there’s the element of if they’re even aware they’re doing it when the focus of a genre film is so rarely characters or cultural implications.

The Predator is a B-movie. There’s no other way to describe it. It’s a sequel and soft reboot to 1987’s Predator, itself a B-movie action/horror/sci-fi film that established a pattern now followed in four films. A group of soldiers come in contact with an alien race whose only goal on Earth is hunting strong members of humanity. They cloak to turn invisible, mimic our speech to confuse us, track us via heat signals, and rip our spines out when they win. A clever soldier will inevitably find a way to defeat them and humanity will be saved for a time. Then it happens all over again in the next film with very minor changes—new technology, different setting.