How can a movie only make $25,000 at the box office and be this good? It must be poor marketing–the movie poster calls it darkly comical, and there’s no humor intended in Albert Shin’s semi-autobiographical directorial debut, the brilliant mystery/suspense/thriller Disappearance at Clifton Hill. A 2019 Canadian release that premiered in the U.S. in 2020, this is the kind of simmering mystery in the vein of Gone Girl and The Girl on the Train, with a genre-bending vibe that blends You Should Have Left, I Am the Pretty Thing that Lives in the House, The Sinner,Picnic at Hanging Rock, and Archive 81–and yet it’s unlike any of them. It stars Tuppence Middleton (The Current War, Jupiter Ascending, The Imitation Game, Mank) in a worthy–and similar–follow-up to her starring role in The Lady Vanishes.
Abby is only seven years old when she sees the boy with one eye, hiding while she vacations with her family in the woods not too far from her home in Niagara Falls.
In last year’s superhero/horror mash-up DIE!Namite, Dynamite Entertainment took its Masks team-up in a weird new direction. Masks featured the comic book publishers’ classic superhero characters working together with some of pulp comics’ best villains. Last year’s intro series DIE!Namite found Red Sonja colliding with a 100-year-old John Carter of Mars, Peter Cannon: Thunderbolt, a space-voyaging Vampirella, and Marla Drake aka Miss Fury (flashing ahead fifty years and in her eighties)–still fighting crime and taking names. This year get ready for DIE!Namite Lives!, a sequel monthly series featuring Evil Dead’s Bruce Campbell hero Ash Williams joining up with Old Miss Fury (think Old Man Logan), Peri-Purr the Sixth (a cat who thinks Miss Fury is her sidekick), a bald-is-beautiful Vampirella, the Egyptian goddess Sekhmet aka Pantha, and a few other surprises.
And they’re all surrounded by the Undead. Deadites. Zombies. Drakulon has fallen to the undead plague. What’s a warehouse inventory worker like Ash going to do about it?
Adam Brody has been a high point of two recent fun genre flicks. In Shazam! he was the grown-up superhero version of sidekick Freddie. And in Ready or Not he was the brother-in-law that gave Samara Weaving’s bride a chance at survival in a crazy mansion of killers. In his next movie, last year’s late pandemic year theatrical release The Kid Detective, the former Gilmore Girls and The O.C. actor plays Abe Applebaum, once a kid detective in the style of Encyclopedia Brown, he’s now a 32-year-old has-been, not cutting it as an adult detective. Unfortunately, what could have been something clever, fresh, and new, ends up pitifully bad–a film that can’t decide what it wants to be, a humorless experimental film that might have made a good effort as a film school project. It’s streaming now on Starz and other platforms.
If you felt like you were left wanting after reading Before Watchmen last year, or if you wondered why Dynamite Comics and Image Comics were the only comic book publishers offering up good noir stories, then Eisner Award winning artist and writer Francesco Francavilla has your answer. Dark Horse Comics is releasing his new four-issue pulp noir series The Black Beetle: No Way Out beginning January 16, 2013. You’ll swear you’ve seen the Black Beetle before, maybe in old 1950s or 1960s pulps. Not so. Black Beetle is entirely a new noir original creation of Francavilla. But he looks like he belongs in Dynamite Comics’s Masks series along with the Green Hornet and the Shadow.
Jason McClain is a big fan of Ed Brubaker’s writing. He’s mentioned his appreciation for Brubaker’s Sleeper books here at borg.com more than once. So when I saw the enticing noir cover art on the first issues of the new series Fatale, I figured this was a good place to start. I picked up Issues 1 and 3-5 and it took me awhile to track down #2 so I only this week could read the first story arc straight through. The new story arc starts with the next issue, coming out soon.
Based on the noir covers I was looking forward to what I have found in my favorite film noir–Otto Preminger’s Laura, Hitchcock’s Shadow of a Doubt, Rear Window, Dial “M” for Murder and Vertigo, Jimmy Stewart in Call Northside 777, also Sorry, Wrong Number, Elizabeth C. Bunce’s fantasy noir Liar’s Moon, and in a strange way, even the voiceover version of Blade Runner. For the most part these are all crime noir stories. A dangerous damsel–the Femme Fatale as in Double Indemnity–plus a Dana Andrews-looking character in a gray fedora who is usually a cop or newspaper reporter, and a dangerous city full of secrets and dark, wet streets–all of this is the stuff of noir. But I was thinking about this all wrong. I had no idea Ed Brubaker and artist partner Sean Phillips were creating a supernatural 1950s pulp horror/thriller, not a noir pulp crime novel. None of my favorite film noir has anything supernatural so from only a few pages in I was thrown a bit. Fatale is noir, but it is just as much supernatural horror. So I read the story once and was confused a bit. Then I figured out what genre I was reading and read it again.
If you like supernatural horror and you like the 1950s underworld as your setting, Fatale is a very interesting read–almost like revisiting a lost story type. The supernatural bits remind me of the TV series Medium, which often contained surprisingly dark and gory crime moments juxtaposed with the lives of good, caring people. Same goes here. Like the movie Skeleton Key, where a man and woman use voodoo to switch bodies and live forever, and like Rosemary’s Baby and The Others, Fatale’s characters are sucked into shocking and frightening situations and as readers we aren’t supposed to know all that is going on until the end.
Fatale has the requisite fascination of an otherwise boring man with an attractive, inaccessible, mysterious woman. Nicolas Lash meets Josephine at the funeral of his godfather, Hank Raines. Raines once knew Josephine back in the 1950s. She’s blackmailed by a detective in the 1950s world of the story, Walt Booker, and both Josephine and Walt have this unnatural power over each other. Is Josephine a “pusher” in the X-Files sense or does she just bring out something in others innocently? What are these occult priestly fellows in red showing up dead everywhere and this fanged beast who kills Raines’ wife? I’d need a few more re-reads to really catch the complexity of what happened here. Each issue from #2 on has a lead-in paragraph at the beginning to explain what happened in the prior issue. I found myself puzzled by these summaries, as in “oh, is that what happened last issue?” Since I read these through in one sitting, I’d think I shouldn’t be surprised by a summary of what I just read, yet I was. Usually if stories suffer it’s through too much “telling” and not enough “showing.” Here I think this story has the reverse problem, but only a bit, and could stand to explain a little more plainly what the heck is going on with the mass suicide, magic dagger, old novel script and some pile of papers that need translating. At times I felt I was totally in sync with the story–there was a 1960s James Bond aura at different points along the way that created a cool vibe. Then with the symbology and strange beast who was also a leader that looked like Hitler, I was out of sync again.
Without question, the best part ofFatale is Sean Phillips’ 1950s style art. If I wasn’t following a scene from the dialogue then I could usually get there with the visual storytelling. Fatale looks like the noir I’d expect to see, for most of the scenes. Dave Stewart’s coloring creates a world familiar to fans of Edward Hopper’s paintings. I think the storytelling has some jarring moments, however. Things like expletives that seem out-of-place and -time bothered me here. It could be because, even if people used expletives in the real 1950s, 1950s movies never did, and so the aura of 1950s drama seems more accessible to me than what might have been real-life lingo (although I refuse to believe folks in 1950s swear as much as, and with the exact same colorful metaphors as, we have today as this work reflects). So I love the look of Fatale, but am not sure of how much I like the story and whether I would recommend it to others not familiar with this genre. The “voiceover” parts were quite good (the “it was a dark night in the city when I first met her” kind of thing). Are Brubaker and Phillips’ other works supernatural horror like this? I’d be willing to try more of their works to find out.
Fataledid make me think a lot about characterization, mood, and what makes something a crime novel vs a horror novel vs a supernatural thriller. In a different kind of way, it made me think about complexity of story much as I did reading and watching the Watchmen graphic novel and film adaptation. Anything that makes you think like that is probably a good thing.
Fataleis available at Amazon.com for pre-order in a trade edition titled Death Chases Me.
, I figured this was a good place to start. I picked up Issues 1 and 3-5 and it took me awhile to track down #2 so I only this week could read the first story arc straight through. The new story arc starts with the next issue, coming out soon.
