08 December, 2017
03 December, 2017
True crime is having a moment. Online there's Serial and Criminal and My Favorite Murder and White Wine, True Crime, then there's Mindhunter (directed and partially produced by a guy famous for serial killer movie). I talk to ex-girlfriends about murders. I can’t sit down at dinner with my folks without Forensic Files coming on (mind you, this is after Frasier, who is also having a moment). It's only natural that Jeffery Dahmer would finally get his turn in the spotlight.
James Kislingbury is a writer, a host, and a convicted criminal. You can listen to his news podcast. You can listen to his cult movie podcast. You can donate to both podcasts. But, seriously, don't try to blow up Margaret Thatcher, guys.
02 November, 2017
03 October, 2017
14 September, 2017
08 June, 2017
02 May, 2017
Or "I Lost a Lot of Friends in That Ape Movie"
Skull Island is mostly about a giant ape wrecking shit, but it also isn't a coincidence that it is centered around one of the great clusterfucks in American history-- one that we still haven't learned the right lessons from. I mean, look around you. Look at the news. You think we've learned a goddamn thing about dropping bombs on places that we don't understand in the past sixty years?
And by the same token the whole principle of socialism is concerned only with one side, namely the reality of the true existence of man. We also have a concern with the other wise, i.e. with man's theoretical existence, and make his religion and science, etc, into the object of our criticism.
07 April, 2017
Luckily, after one of my podcasting partners went blind, I managed to fall into a spare copy of Domu. Among other things. It was well worth the wait. I mean, definitely not worth Alex going blind, but here we are. What are you going to do?
|Me opening my Twitter feed.|
- Otomo is the best at drawing. He's just. . . Why the fuck does anybody else even bother?
- Man, I haven't seen this many kids killed in a thing since Logan. Not that I'm complaining!
- There is a sparseness to setting up the premise of the story that is almost invisible in how incidental it is. There is no wasted space in this comic. Both artists and writers could learn something from this dude. I know I can. So, again: It's cinematic. It's packing a lot into a little and he makes it look so easy.
- I kind of want to hunt down a bunch of single issues from the original run on Dark Horse. I kind of want to huff those sweet, old comic book pages. I know that makes me a sick person.
- Man. this comic is so goddamn good.
*And, as it turns out, Domu is being adapted into film. Along with Jordan Peele being in discussion to direct a long-awaited live-action Akira, Otomo has been having a nice little year).
10 March, 2017
19 February, 2017
|"Great kid, don't get cocky!"|
We already exist in a world full of grit. Right now, the world appears to be this incomprehensible mess that seems to gain strength vacillating between distant confusion and local horror. Over here we seem to have actual Star Wars villains running the show and, elsewhere, we have people running around committing acts that would give the Sith pause. Maybe this wasn't any different in the late 1970's. Maybe it's me. Maybe I don't know any better. Even during the height of the War on Terror, when the Prequel Trilogy concluded, it didn't ever seem this bad.
And maybe that's why Star Wars worked.
It came out at the height of New Hollywood's decadence (detailed in Raging Bulls and Easy Riders). Famously, it crushed William Freidkin's Sorcerer*, an even grittier remake of The Wages of Fear. Only in hindsight would this be seen as the death knell of New Hollywood (culminating in other high budget bombs such as One From the Heart, and New York, New York, and, most importantly, Heaven's Gate). To say that Star Wars ended the gritty, adult films of the 1970's is an oversimplification, but it does speak to the idea that good doesn't always mean "adult." This isn't to say that Sorcerer was a bad movie. I choose to see it as a statement that Star Wars was a good movie. People made their choice and they made it in droves**.
These things work in cycles. I'm sure Joseph Campbell would probably have something to say about this. . .
There's something to be said about us changing, about the fans changing, and not the series itself, though, maybe that's another issue entirely. Back to the issue at hand. . .
|"Let me tell you about the original|
Luke Skywalker. . . His name was
Star Wars is about the past. It's a reflection of both civilization's mythology and it's, most annoyingly, about our own mythology. I pity the poor daughters and sons of bitches that have to make a new one-- Especially if they want to make it good. That must be a nightmare.
As good as it might be, Rogue One is a perfect example of why you should be careful what you wish for—Especially if you’re a fanboy. The reality of the thing is not always what you imagined it to be. In short, sometimes a fantasy is better off as just that: A fantasy.
(See? Even the logo had grit!)
*Apparently Shane Meadows is working on a remake of Sorcerer. Because apparently he wants to personally torture my friend Eric Bryan, long time Sorcerer fan and enemy of Shane Meadows. And, also, appropriately, it's going to be coming out opposite a new goddamn Star Wars. Because, sure, what the fuck. Why the hell not?
**Yes, I'm aware that Rogue One has made a billion dollars world wide. I'm not arguing against that. I'm arguing about my enjoyment and the wider meaning of turning a kid's saga into a war story, and that this is something worth thinking about whether you're a big fan or not! Pay attention, you plebe!
James Kislingbury is a writer and a podcaster. He also sends harassing letters to public officials. If you'd like to support his endeavors, please check out the Patreon for his podcast production squadron.
31 January, 2017
Johnny Red falls firmly within Garth Ennis' wheelhouse as a writer. It's the story of an RAF pilot stuck behind Soviet lines and pushed into a near no-win situation against the approaching German army. As such, it involves RAF banter, Stalingrad, bad commies, good comrades, the Nazis, and at least one decent Jerry. In short: It's a Garth Ennis war comic. (Also, it might fall within Keith Burns' wheelhouse, I'm not entirely sure. It sure looks like it does, though). What impresses me is that Ennis can still tell different stories and different kinds of stories using the same setting, the same tropes, and the same basic tools.
I’ve talked about this before with Fury (and probably some other Garth Ennis comics somewhere. . . And Star Wars, come to think of it. . .), but when it comes to World War II stories there are a few distinct sub-genres* Though, that is distinctly different from sub-genres.
It's also interesting to note that, while Ennis has never been short on enmity for the Nazis or the German armed forces in general, both Enemy Ace and Johnny Red demonstrate that he's capable of portraying the enemy with some semblance of nuance (even if it involves Ennis hitting the same basic tropes that he almost always hits).
Not much more to say than that. I mean, other than to remind you that Ennis is a goddamn treasure and it kills me that he isn’t allowed to just make these stories at his own pace, at his own time, whenever he wants instead of this depressing, piecemeal situation. He does good work. His artists do good work. They’re making stories that matter more than most comics matter. He should be rewarded for that. Everyone should be.
James Kislingbury is a writer, an artist, and a podcaster. If you like this well enough, then check out his Patreon or just do whatever.