Archive for February, 2020


A celebrated Agatha Christie supernatural mystery from 1961, The Pale Horse has been adapted into a mini-series, and it’s coming to Amazon next month.  The series stars Rufus Sewell (The Man in the High Castle, Zen, A Knight’s Tale) as Mark Easterbrook, the story’s main protagonist, a historian who accompanies a celebrated mystery author named Ariadne Oliver to a small town called Much Deeping (Oliver was based on Christie, but may or may not be a player in the Amazon adaptation).  The story’s title comes from the Revelations story from The Bible: “Then I looked and saw a pale horse.  Its rider’s name was Death…” In the novel the Pale Horse is the local inn.  An inn that houses three witches.

Sean Pertwee (Gotham, Doctor Who) is Inspector Stanley Lejeune, responsible for tracking down a series of murders.  He approaches Easterbrook when his name is found on a list hidden in a shoe of one victim.  This adaptation comes from Sarah Phelps, who adapted Christie’s The ABC Murders (reviewed here) and Dublin Murders (reviewed here).  Easterbrook’s wife, a key player in the story, is played by Kaya Scodelario (Pirates of the Caribbean: Dead Men Tell No Tales, The Maze Runner).

Will this adaptation be typical Christie cozy mystery or one of her more over-the-top tales?  (The witches are probably a hint).  It looks to have some of the flair of Minky Woodcock and The Wicker Man Take a look at this trailer for Agatha Christie’s The Pale Horse:

Continue reading

Review by C.J. Bunce

You still have a month before visual effects artist-turned director Dave Wilson’s Bloodshot movie arrives as the next cyborg superhero from Valiant Comics to hit the big screen.  But if you want to get a jump on your friends, there’s Bloodshot: The Official Movie Novelization, just released from Titan Books, a  great read for fans of all things borg.  Readers will be pulled inside the story of Ray Garrison, a slain special ops Marine, who is resurrected thanks to Dr. Emil Harting, a (mad?) scientist who is perfecting his use of nanotechnology and cybernetics to create an unstoppable squad of super-soldiers.  Written by Gavin Smith and based on the Jeff Wadlow and Eric Heisserer screenplay, Bloodshot creates the next step in the evolution of cybernetic technology stories that began with Mary Shelley’s Frankenstein, mixing the rage of The Punisher with the impact on the human psyche and dehumanization of turning from man to cyborg, as we’ve seen in stories like RoboCop (who was inspired by Judge Dredd and Marvel’s Rom).

As for the comics in film, Bloodshot is poised to stack up neatly beside the lab-created Hulk, the merger of body and “something else” of Spider-Man and the Fantastic Four, the mission and science of Captain America, Wolverine, and Deadpool, the determination of Cable, and it’s a fitting follow-up to the half-man/half-monster movie, Venom.  That’s a lot of Marvel characters with similar struggles, and there are certainly more, characters with the same vintage of origin story–an unlikely or involuntary super-soldier–so how do you spin this key comics trope in a fresh, new way?  As Smith, Wadlow, and Heisserer have done it, you go back to the human condition, and look to what has come before.  Bloodshot isn’t from Marvel, but indie publisher Valiant, but it’s sourced in a common creative mindset.

Bloodshot reads much like Martin Caidin’s original story of the first modern cyborg in his novel Cyborg, about Steve Austin, the Bionic Man–the Six Million Dollar Man–a military hero brought to death’s door and back via science.  In many ways Bloodshot–the program that pulls in the story’s hero and becomes the name of his new persona–is an update to Cyborg–what you could imagine the Bionic Man reboot with Mark Wahlberg to be like.  And it pulls in good mind-twisting sci-fi elements evoking Joss Whedon’s Dollhouse and Duncan Jones’ Source Code.

Continue reading

Review by C.J. Bunce

Plumes are cool.  I wear a plume now.

This week the Doctor and friends turn up at the very event that was the real-life origin point of Doctor Who, the series, and in fact all of science fiction: Lord Byron, Percy Bysshe Shelley and Mary Wollstonecraft Shelley’s summer at the retreat at Villa Diodati near Lake Geneva in Switzerland in 1816.  It was the historic “year without a summer,” believed the result of volcanic ash in the atmosphere.  More importantly for the future of science and technology and science fiction, it was the convergence of celebrity that resulted in Mary Shelley’s spark to write her novel Frankenstein, the first science fiction novel and–notable for fans of all things borg–the first borg novel.

Only this is Doctor Who, and so something is different, as one of the famed guests of the villa is missing.  In its 56 years some of Doctor Who’s greatest episodes have featured a re-look at historical places and events, and the fantastic new episode, “The Haunting of Villa Diodati” may top them all.  The events of 1816 are well documented and writer Maxine Alderton (The Worst Witch, Emmerdale) used them to create the perfect blending of Doctor Who and history.  Directed by Emma Sullivan, Alderton’s story is expertly designed to weave together even the obscure historical facts and figures with the fantastical, while foreshadowing the focus of the season’s remaining episodes (find a peek at that below).  Just as the story of the creation of the first science fiction story takes center stage (also one of the early Gothic horror tales), so does the world inside Shelley’s novel peer into the world of the Doctor.

Save the poet, save the universe.

In a word, “The Haunting of Villa Diodati” is perfection, as the seed of all science fiction meets its latest incarnation both from within the universe of Doctor Who and viewing Doctor Who from the outside as a work of science fiction itself–delivering a perfect threat to a single point in time that, if altered, changes everything thereafter and could obliterate the world as the Doctor–and the viewer–knows it.  Plus… a haunted house, ghosts, and a decision that could throw the future into chaos?

Continue reading

If you didn’t know her before you may have heard her powerful, soulful rendition of The Beatles’ song Yesterday performed with the photo montage memoriam during this year’s Oscar ceremony.  Eighteen-year-old singer Billie Eilish is the latest songwriter/singer whose work will define a James Bond film when No Time to Die debuts in theaters in April.  Eilish is the youngest person and second person ever to win the four main Grammy categories (Album of the Year, Song of the Year, Record of the Year, Best New Artist), and now, co-writing the song with her brother Finneas O’Connell (Glee), Eilish becomes the youngest performer to headline a Bond theme.  The song features guitarist Johnny Marr, with orchestral arrangements by Hans Zimmer and Matt Dunkley.  She’ll perform the song live for the first time at the Brit Awards in London Tuesday.

Compare her No Time to Die (listen to the full song below) to Sam Smith’s Writing’s On the Wall from Spectre and you’ll notice a familiar framework.  Eilish doesn’t have the mature voice of Adele, as demonstrated in her passionate and aching theme to Skyfall.  Eilish opts for cracking whispers over the fuller sound of Bassey or Adele.  But clearly all three of these most recent performers for Bond films borrow something from Bassey’s sultry performances of early Bond themes.  Be sure to listen for musical cues and motifs from familiar Bond themes of years past dotting the background of Eilish’s song.  Note: The version on Eilish’s YouTube page probably doesn’t match what will hopefully be a cleaner, clearer edit used for the expected stylized opening credits sequence in the film–you may need to listen twice to catch all the lyrics, or watch this version with printed lyrics here.

Listen to all the prior Bond themes and watch all the corresponding opening credit sequences at our borg rundown of the themes here.  Then vote in our James Bond Theme Song Poll below for your favorite:

Continue reading

This week two brief videos will leave most people scratching their heads and asking, “Why bother?”  The first, for The Batman, released by writer-director Matt Reeves (who we hold out hope for because he wrote and directed the great vampire love story Let Me In), is a “camera test,” which appears more like an early lighting and costume test where you can glimpse new bat actor Robert Pattinson in his batsuit.  The second is from Netflix, and it’s an overly long scene of a Russian prison work detail resulting in the appearance of David Harbour as a thinner, gaunt, exhausted Jim Hopper, spoiling any surprise that the character was really killed in the final episode of the last season of Stranger Things (C’mon, you knew he wasn’t going to be dead for long).  Some will applaud one or both.  Others will sneer.  Where will you land?  (Psst.  There’s no wrong answer).

What are these things anyway?  Barely teasers, the purported “camera test” for The Batman is more “trial balloon,” an intentional vehicle for starting buzz, good or bad, so potential audiences get accustomed to yet another revamp of the batsuit and actor.  Literally thousands of podcasters have already manipulated the image of Pattinson in many ways to try to glean something worth discussing (not surprisingly with little to say).  We already knew it takes some effort to find an artist that has drawn Bruce Wayne that in any way resembles the co-star of The Lighthouse, Harry Potter and the Goblet of Fire, and the Twilight vampire movies.  And–big surprise–David Crossman and Glyn Dillon′s new costume design looks like another batsuit of the sharp-angled, action figure toy variety (toys = sales = more $) instead of something out of the comics pages.  And current movie go-to composer Michael Giacchino offers another repeated bass line with drum set in the background to back it all up.  Our wish?  We just want Warner Bros. to finally get the voice of Batman right and skip that goofy, dry, smoker voice and coughed-out dialogue.  Let’s hear him say, “I’m Batman.”

The Stranger Things video is out there to whet appetites of fans who won’t see the series return for another year.  But did the fans need to know Hopper wasn’t dead before the fourth season was ready to go?  Here’s an idea:  If you’re going to cast against type, as they’ve done for The Batman, why not really have some fun and give us David Harbour as Batman?  Sure, Harbour is playing a Russian superhero in the summer Black Widow movie from Marvel Comics, but audiences won’t care.  Let’s really have some fun.  Or give Pattinson the role of a superhero he really looks like: Wolverine.  They need a new younger actor for the role in the new Marvel Cinematic Universe, right?

Oh, well.  Watch–or don’t–you’re not missing much!  Here are the two brief, too-brief videos for The Batman and Stranger Things:

Continue reading

Review by C.J. Bunce

Having escaped an Assassins brotherhood training camp in his youth where his mother is killed by the villainous Maxime Torm, 17 years later–in 2017–readers meet the escapee in the new graphic novel Assassin’s Creed: Bloodstone His name is Tomo, now a young man working in a video arcade in Tokyo.  With Hajime, the man that helped him escape, Tomo is now seeking to destroy the man that ruined their lives and murdered their brethren.  The Templars are now using DNA databases to track down the remaining Assassins.  Tomo and Hajime find a lead in far off France, a doctor named Nathalie Chapman, who Tomo believes will take them to Torm and the Templars.  But Tomo hasn’t finished his training.  He is not an Assassin yet.  He poses as a doctor and is hired to work for Chapman, when he gets closer to one of her patients, a young woman with amnesia named Elisa Adler.

The Animus, Abstergo, the Helix, and Pieces of Eden, the same trippy quests back through the generations, and an expanded tale of the Adler and Gorm families spinning out of Dorison’s 2018 graphic novel Assassin’s Creed: Conspiracies mixes historical fiction, sci-fi, and fantasy.  In a similar vein as Ready Player One, Bloodshot, and Dollhouse, you’ll join Tomo on a virtual reality ride back into the past of the Gorms that takes Tomo to the beginnings of the Vietnam War.  But what will Chapman and Hajime do when Tomo tries to help Elisa?

Rich, detailed worldbuilding by Guillaume Dorison (translated by Marc Bourbon-Crook) continues the Assassin’s Creed universe beyond the video games and nine prior graphic novel stories from Titan Comics.  Assassin’s Creed: Bloodstone (the first book of a two-book series) has all the elements of the Jason Bourne saga: good action, intrigue, smart dialogue, and likeable characters.  Ennio Bufi′s artwork is gorgeous, a mix of the contrasts and shadows of Jock and the vivid, sweeping imagery of Bill Sienkiewicz.  Bufi is an artist readers can only hope to see more of.

Check out this preview of both volumes of Assassin’s Creed: Bloodstone courtesy of Titan Comics:

Continue reading

No doubt the movies of writer-director Wes Anderson are an acquired taste.  Fortunately he exhibits some variety, as we’ve explored before here at borg.  Whether it’s Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Fantastic Mr. Fox, Moonrise Kingdom, The Grand Budapest Hotel, or Isle of Dogs, at least one of these films will likely appeal to you.  For his next big screen venture, Anderson is taking an anthology angle.  The lengthy-titled The French Dispatch of the Liberty, Kansas Evening Sun, or just The French Dispatch, for short, doesn’t need to mention Anderson’s name at all.  It’s instantly recognizable from his framed cinematography, disturbing bland color hues, and fourth-wall breaking stares from its cast.  Yes, there really is a Liberty, Kansas (found in southeast Kansas, population 123).  Purportedly inspired by The New Yorker magazine, the film is actually based in a fictional city in France, and follows media types in the latest look at that self-reflective, stark fantasyland found in many Anderson movies.

The anthology element consists of incorporated story threads centered on characters and “stories” played out by Anderson troupe members Tilda Swinton and Frances McDormand, and–new to Anderson-land–Jeffrey Wright.  Other Anderson familiars include Owen Wilson, Bill Murray, Edward Norton, Bob Balaban, and Jason Schwartzman.  Like Woody Allen movies years ago, everyone seems to be flocking to be in the next Anderson picture, so this time that means the likes of Henry Winkler, Willem Dafoe, Anjelica Huston, Benicio Del Toro, Adrien Brody, Léa Seydoux, Christoph Waltz, Liev Schreiber, and many more.  Music is by Alexandre Desplat.

Check out this trailer for the expectedly unusual The French Dispatch of the Liberty, Kansas Evening Sun:

Continue reading

Last week we previewed a teaser for the coming second season of Netflix’s Altered Carbon, and we now have a full trailer from the streaming provider showing us even more.  The new trailer confirms the near wipe-out of the main cast from the first season, with only the artificial intelligence named Poe remaining, played by Chris Conner (Burn Notice, House, Bones) and a new kind of robot.  Two supporting characters clearly get a bigger role this season: Renee Goldsberry (Star Trek Enterprise, Life on Mars) as Falconer, a platoon leader from the past, and the original form of the series lead, played by Will Yun Lee (Hawaii Five-O, Bionic Woman, Witchblade).  It’s too bad for those who thought cop Kristin Ortega, played by Mexican actress Martha Higareda (McFarland USA, Royal Pains), was the highlight of the series–she and first season lead Joel Kinnaman (RoboCop, Suicide Squad) seem to be out this time.

In fact other than Poe the new trailer appears like Season Two could easily be an entirely new sci-fi series.  Alison Schapker is the new series executive producer and showrunner.  Anthony Mackie (Captain America: Winter Soldier, The Adjustment Bureau) is in the driver’s seat as the new “sleeve” or body inhabited by Takeshi Kovacs, hero of the Richard K. Morgan novel the show is based on.  Kovacs is a future soldier in a world where science has developed a hard drive called a “stack” that is implanted in humans’ necks, enabling our memories to be uploaded to storage and replanted over and over so we seemingly can live forever, even in new bodies (see our review of the first season here).  Allowing Kovacs and other characters to be played by any number of actors (so the series could potentially run forever like Doctor Who) for the second season will be something new for many Netflix viewers.

Season Two begins thirty years after the last episode, with Kovacs continuing his search for Falconer (explaining why so many first season characters are no longer around).  New to the series, and highlighted in this trailer, are Simone Missick (Marvel’s Luke Cage, The Defenders) as Trepp, Lela Loren (Chuck, Lost) as Governor Danica Harlan, and Torben Liebrecht (Homeland, Luther) as Colonel Carrera, with James Saito (Prodigal Son, Law & Order) as Tanaseda Hidecki.

Check it out the new poster (above) and this new trailer:

Continue reading

IDW Publishing, Dynamite, DC Comics, and Marvel Comics are getting into the holiday spirit this week for Valentine’s Day this Friday.

IDW Publishing has three books featuring the subject of love: Star Trek: Year Five, Transformers, and Napoleon Dynamite each with a romance tale.  DC Comics has its annual giant-sized issue for February, too.  This time it’s DC’s Crimes of Passion #1.  The 80-pager features ten stories by some good teams of writers and artists, including a Bat-story by writer Steve Orlando with fantastic artwork by Greg Smallwood.  And there’s even a Green Arrow and Black Canary team-up.  The Star Trek cover arrives in two variants, one (above) matching last year’s wraparound kids Valentine format that featured Kirk.

You need to think a bit to see what’s happening with Dynamite’s special Valentine’s Day covers, except maybe for the cover to Death to Army of Darkness #1 by Sebastian Piriz with its big red heart front and center.  Dynamite is presenting an odd assemblage of homages to Marvel Comics’ The Amazing Spider-Man covers of the past featuring Mary Jane Watson, which by themselves don’t scream chocolates and roses.  But if you collect homage covers, check out Piriz’s homage to the cover of The Amazing Spider-Man Annual #21, Lynne Yoshii’s Vampirella/Red Sonja #6 (matching The Amazing Spider-Man #59), and Sanya Anwar’s covers to Dejah Thoris #3 (matching The Amazing Spider-Man #601) and Red Sonja #13 (an homage to The Amazing Spider-Man #42’s final panel).  So along with Dynamite, Marvel Comics gets its own piece of Valentine’s Day attention (whether they wanted to or not).  Note: These are just variant covers for the holiday, not Valentine’s Day stories inside.

 

Check out more of the covers for this week’s books below. and a preview of DC’s Crimes of Passion:

Continue reading

Review by C.J. Bunce

For every new movie you watch, you need to go back and see a classic, right?  If The Hunt for Red October is Star Trek in the ocean, then Outland is The Sand Pebbles in outer space.  A predecessor to science fiction staples like Total Recall, Blade Runner, and Firefly, Outland is still one of the best depictions of what life actually may be like working aboard a space vessel, once modern technology figures out how to get past that zero gravity issue.  Isolation rarely has been portrayed as believably as directed here by Peter Hyams (Timecop, 2010: The Year We Make Contact, The Star Chamber, Amazing Stories).  The 1981 Academy Award-nominated classic, Outland is now streaming on Starz, Hulu, Amazon, and Vudu.

Audiences never saw Sean Connery so average as he was playing Marshal William T. O’Niel.  In a very low-key role more frequently seen played by someone like Steve McQueen, Connery is a federal cop in space, assigned to the titanium ore mining outpost Con-Am 27.  He was selected because he was likely to phone in his job, and not ruffle feathers.  But he finds himself when he learns the outpost is a haven for drug smuggling and worse, using drugs to work crews to their deaths, all part of a cover-up.  The film’s own predecessors were any number of cop shows, and it has themes from Westerns, too, especially High Noon, another lone lawman trying to take out a local band of ruffians–and another man with marital problems.  Critics accused the film of being thin, but it’s exactly why the film works so well and holds up well still today.  In many ways the film is better, and even scarier, than Alien and Total Recall, proving you don’t need monsters to be truly alone and unprotected from life-threatening elements in space.

O’Niel’s only help is from Frances Sternhagen (Doc Hollywood, Cheers, The Closer) as Dr. Marian Lazarus, a no-nonsense crewman who is sympathetic to O’Niel as the newbie having to dodge the unfamiliar “way things are done.”  Dr. Lazarus is one of sci-fi’s least known but toughest sci-fi heroines, and her chemistry with Connery as comrade-at-arms is superb.  Another crew member is played by sci-fi and Western veteran James Sikking (Star Trek III: The Search for Spock, Hill Street Blues, Doogie Howser, MD), who would continue for decades to play similar roles.  And the baddie of the bunch is played by your favorite film Frankenstein, Peter Boyle (Young Frankenstein, Johnny Dangerously, The X-Files, Everybody Loves Raymond).

Continue reading

%d bloggers like this: