Author Archives: Andy Burns
We’re heading into Halloween horror film time, and there’s a big new release looking for your dollars this weekend. Will it hit the big money, or will one of Hollywood’s most bankable stars spoil the fun. Here’s our prediction:
Ouija: Origin of Evil is a sequel to the 2014 original that managed to make $50 million during its release. While no huge names are attached to this follow-up, there’s some decent buzz surrounding the film, which is said to be quite scary, even for a PG-13 rated movie. People want to get their horror on as October comes to a close, and this is the movie that will help them do it. Look for a first place showing with $23 million.
Holy shit. This looks incredible. That’s all I’m going to say.
Logan is out March 3rd, 2017.
It’s safe to say that Dan Slott has been one of the most divisive comic book writers of the past decade, thanks to his run detailing the trials and tribulations of Marvel’s most popular character, the Amazing Spider-Man. More so than any other Spidey writer in recent memory, Slott is pushing the character into new places while finding the fun that has come to definine Peter Parker and his alter-ego.
No doubt Ben Affleck is happy that the bad juju surrounding Batman v Superman: Dawn of Justice hasn’t tainted his drawing power, as he’s sitting pretty in the top spot at the box office. Here’s what went down:
The Accountant debut at number one in the box office with a strong $24.7 million. While not a massive showing, it’s definitely a decent start for a dramatic, non-franchise film. While it’s unlikely that the movie will get anywhere near $100 million, it should do alright for itself if it manages to have some legs over the coming weeks. Read the rest of this entry
Nobody makes movies like Rob Zombie. By extension, nobody divides an audience like Rob Zombie either. Since his debut film House of 1000 Corpses back in 2003, Zombie has had a love/hate relationship with filmgoers. His sixth film, 31, a grindhouse Running Man-inspired splatterfest, is sure to continue the trend.
Set on Halloween night, 1976, 31 is the story of a group of carnival workers who, while travelling to their next gig, are attacked, captured and trapped in an abandoned, maze-like building where three aristocrats (Malcolm McDowell, Judy Gleeson and Jane Carr) force the survivors to fight for their lives over the course of twelve hours against an increasingly twisted group of murderous psychos. Chief amongst them is a clown makeup wearing madman known only as Doom-Head (Richard Brake). Brake is the film’s not so secret weapon. Zombie clearly has written this character to be a new genre anti-hero, and the actor delivers in spades. Doom-Head’s opening monologue is spewed with thrilling, scenery-chewing ability and verve, and is arguably the greatest piece of dialogue Zombie has ever crafted.
Where Zombie previous film, 2012’s The Lords of Salem found the director working in a more atmospheric, refined tone, with echoes of David Lynch and Stanley Kubrick, 31’s focus on uber-violence places him firmly back in the down and dirty cinematic territory he first mined with 2005’s The Devil’s Rejects (there’s also the ubiquitous presence of Zombie’s wife and muse, Sherri Moon Zombie as the female lead of the film). Therein lies 31’s biggest flaw – for the first time in a directorial career that’s thrived on not doing the same thing twice, 31 feels like it’s taking cue from Zombie’s previous work rather than standing solely on its own merits. If you’re a fan, that’s not necessarily a bad thing, but for the naysayers out there, 31 won’t be the film to turn them into Rob Zombie acolytes.
Will The Girl on the Train hold on to the top spot at the box office again this week, or will a numbers man step into number one? Here’s our prediction:
The Accountant is a new hit man film starring Ben Affleck, who was considered to be the best part of Batman v Superman: Dawn of Justice. This matters because, even though the film took a drubbing from critics, Affleck got strong notices and really doesn’t have to worry about any blow back effecting his latest offering. Plus, the guy is a star and has the ability to open a film. Look for a first place debut with $20 million.
The Neon Demon is one of those horror films that isn’t quite horror. It’s a visceral experience, to be sure, and one that I wasn’t completely expecting. But in most ways, its horrors rest more with its depictions of beauty and ambition, and what those that crave both are willing to do for it.
Every Monday evening my parents and I would settle in by the fire, pour ourselves “a cuppa” and watch the featured Monday Night Mystery on PBS (I was a terribly cool kid, I know). One night my “actually” cool older brother made a rare appearance at our Monday night gathering and joined us to watch the 1989 made-for-TV British horror film they were showing called The Woman in Black. This was unexpected. What was even more unexpected was how scared shitless he was after viewing it. He, who snubbed my fascination with all things creepy with such disdain, was deeply unnerved by the end of the film. I had never seen him like that and I could not have been more delighted. So began my love affair with the original The Woman in Black.
When it comes to recent battle between LEGO Dimensions and Disney Infinity, two competing iterations of the toy to video game franchises, well, there was a pretty clear winner, as Disney threw in the towel on further versions of their game earlier this year. I’ll admit that I had some serious sadness about that – their toy models of familiar Marvel, Star Wars and Disney characters are absolutely phenomenal. Even if you’re not into the games, they sure look good displayed.
That being said, perhaps it shouldn’t have come as too much of a surprise that LEGO continues to roll with their own Dimensions games. They also bring familiar brands such as Back to the Future, Lord of the Rings, DC Comics and many more into a unique gaming environment where you can play both a larger story along with various levels designed for the specific franchises available. For gamers it’s a lot of fun, and for LEGO obsessives, of which there are more than a few, collecting the sets is pretty much mandatory. Well, now there’s a whole new series of bricks to amass.
Can’t mutants just get along with anyone?
Over the last few years we’ve seen Marvel’s merry band of outsiders duke it out with ithe Avengers over the Phoenix Force. Now all things point to the X-Men heading into battle with the Inhumans, whose presence on Earth have escalated ever since their fallen king, Black Bolt, released the Terrigen Mist into the planet’s atmosphere, leading to the creation of new Inhumans around the planet.
Does this all sound like a lot of gobbledygook? It may very well, if you haven’t been reading the last few years of Inhuman and X-Men comic books. Luckily, the new limited series Death of X doesn’t require a significant amount of backstory familiarity to enjoy it.
Written by next generation stars Jeff Lemire and Charles Soule, and illustrated by Aaron Kuder, Death of X is set 8 months earlier than the current Marvel continuity. In it, the X-Men have travelled to Muir Island after the Multiple Man sends them a distress call. Meanwhile, in Japan, a band of Inhumans led by Crystal is following the Terrigen Mist, where it’s about to envelop 200,000 potential new Inhumans. Both groups, on separate journeys, don’t get what they’ve bargained for. There is life and there is death, and more than anything, the existence of mutants in the Marvel Universe hangs in the balance.
Death of X moves quickly, and juxtaposes the two teams quite nicely. The Inhumans are full of optimism – their ranks are growing, and they welcome their new brethren with open arms. The X-Men, led by a militant Cyclops, are more like a group of soldiers, world and war weary. While Lemire and Soule nail the Inhumans and their tone, Cyclops and his group feel just a little bit more cliched than you’d hope. It may simply be familiarity – these characters have been around for decades, and while they’ve grown and evolved, there’s something still fairly rote about them.
The issue here is very much a set up for what comes next, and is certainly successful in its delivery. A battle is brewing, and I’ll be there to read it.