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Tag Archive: The X-Files


Review by C.J. Bunce

Today a new young heroine arrives in the pages of a graphic novel called Scoop.  In Volume 1 with the first story arc titled “Breaking News,” we meet Sophie Cooper, a 14-year-old Cuban-American high school student in Miami.  It’s not the red hair and freckles that make her an outsider, it’s her dad.  He’s under investigation by a local bank for money laundering–under house arrest he’s trapped in his own home with an ankle monitor, while Sophie’s mother serves as a lawyer in the mayor’s office.  Sophie is ostracized by her peers at school and decides to take an internship with a local TV station in the hopes that she can learn something to help prove her dad is not what everyone says he is.  Sophie can’t help but make friends along the way, including a has-been TV anchor at the least popular station in town, who proves to be more valuable than she could have imagined.  While investigating a lead they encounter a strange otherworldly force that wrecks his car, and an undersea creature who helps her escape a pursuer who thinks she is getting too close to the truth.

“Scoop” becomes Sophie Cooper’s clever handle, her nickname (the first letter of her first name and first four letters of her last name), assigned to her by the news station.  Scoop has the framework to become the next Liv Moore from iZombie or Veronica Mars.  Sophie gravitates more toward the Veronica Mars angle–your basic teen crime detective–since this first volume primarily introduces the main characters, but writer Richard Hamilton and artist Joseph Cooper plant the seeds for a supernatural, X-Files-inspired future for the teen sleuth.

The imagery features a dose of Burn Notice style from the investigation plot, Miami setting, and locals that pop up in the series’ first 96 pages.  Also like iZombie, this is a story and characters not springing from a major comic book universe, so anyone can climb onboard from page one.  Sophie Cooper is exactly the kind of character you might see show up in a year or two on the CW Network, engaging and bright, with her precocious younger brother as an assistant she can tap into the latest technology to hone her investigative skills.

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Review by C.J. Bunce

An exciting new Gothic suspense thriller has arrived in the new Netflix series Requiem.  Like any great mystery–and it seems even more so in this sub-genre–you never can tell what kind of story you’re in until the very end.  Clues are everywhere if you only look at what is right in front of you.  Call it a psychological thriller, call it a ghost story, call it a police procedural, call it another X-Files entry, call it outright horror, Requiem is a British production that, unlike so many past British series, it’s arrived for American audiences as quickly as it premiered in England.  And one of the great things about Netflix is it’s now bridging that gap of time that has so often taken British television series years to arrive in the States.  We don’t know their trick but we love it.  Requiem is as creepy, as atmospheric, and as chilling as anything you’re going to see this year.

Fans of the original The Watcher in the Woods will appreciate Requiem for many reasons, including getting that obligatory British estate nestled in the far-off woods so very right.  Viewers familiar with the Gothic genre will find themselves transfixed, scrabbling to follow clues and guess before the final episode the true nature of the darkness in the story.  The beauty of the script, acting, and setting is that you probably won’t be able to figure it all out.  It’s that good.  Expect a few “I didn’t see that coming” utterances and a satisfying ending.  Is this just another procedural crime drama about a missing child?  Something like The Missing, Thirteen, Broadchurch, Hinterlands, Shetland, or this year’s Netflix release, Collateral Or something with a more supernatural twist like British series Marchlands, Lightfields, The Secret of Crickley Hall, or a litany of creepy ghosts, haunts, and other fears from the big screen across the decades, like Otto Preminger’s Bunny Lake is Missing, Gaslight, The Lady Vanishes, or The Woman in Black, like the film adaptations of the Daphne du Maurier novels My Cousin Rachel, The Birds, and Rebecca, or adaptations of Gothic classics Wuthering Heights, Jane Eyre, Turn of the Screw, or Great Expectations?  Maybe this is a modern horror tale wrapped in Gothic dress, like The Boy, The Ring, The Sixth Sense, The Shining, The Others, The Fog (and other John Carpenter classics), Skeleton Key, the Oscar winner Get Out, this year’s film Winchester, or Guillermo del Toro’s modern creation inspired by the classic Gothic thriller, Crimson Peak Or maybe it only has the atmosphere of the above productions.  

Virtuoso cellist Matilda Grey (Star Trek Beyond, Black Mirror, and Never Let Me Go’s Lydia Wilson) is readying a London premiere with her musical partner Hal (Game of Thrones’ Joel Fry).  But her world falls apart when her mother Janice (Philip K. Dick’s Electric Dreams and Spaced’s Joanna Scanlan) commits suicide.  At her mother’s home she finds a hidden box of secrets that reveals her own past may not be what it seems, and she and Hal find themselves trying to come to terms with Matilda’s loss in the seemingly unpronounceable Welsh town of Penllynith.  Something wicked this way comes, or does it?  Is everyone just caught up in an old missing persons case from years ago and the quirky lore of an old village?

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The movie-going world first met Anna Paquin when she co-starred in Jane Campion’s The Piano, which earned her the Academy Award for her supporting role at age 11–the second youngest Oscar winner in history.  As the New Zealand actress gained experience in her craft she went on to star in True Blood, which earned her a Golden Globe Award.  These days she’s best known as Rogue in the X-Men series, appearing in four X-Men movies so far.  This past fall she starred as a murder victim in Netflix’s 19th century historical drama series Alias Grace, and this month U.S. audiences were introduced to her performance as a cop in one of the better episodes of season one of Philip K. Dick’s Electric Dreams.  This week she returns to television in a starring role again as a cop in the new series Bellevue on WGN America.

Paquin continues to show her Oscar and Golden Globe wins were deserved.  The actor has a command of the stage, and consistently her presence in a scene brings authority to her characters.  In Bellevue we meet a down-to-Earth side of Paquin as she plays Detective Annie Ryder, a local institution in her small town, whose brash personality and working class roots put her at odds with other officers in her department and every other faction in the town of Bellevue.  Her new case is locating a missing young man, a local hockey player and celebrity of sorts who we learn had a transgendered lifestyle and possibly was being counseled by a priest at a local church.  Paquin’s Ryder has her own odd sense of humor as she makes the best of handling a daughter, a sad sack ex-husband, and the residents of a mining town with a newly closed mine and a newly opened brewery.  The first episode really kicks in as we watch Ryder find a connection between the recent crime and strange messages left to her after her father’s suicide when she was a child.

You can see bits and pieces of a myriad of dark-murder-mystery genre TV and film in Bellevue, everything from the dark creepy vibe of Haven, Grimm, Twin Peaks, The Returned, The X-Files, and Wayward Pines–minus the supernatural elements–along with the serious crime material of Broadchurch, Fargo, and Thirteen.  As for its pacing, this Canada production for WGN America is presented like many British mystery series–there seems to be more time spent in study of each scene, as found in better mysteries like Shetland or Hinterlands.  One episode in and it already is more compelling than The Killing.  For current audiences Bellevue may feel more like Riverdale–the series pilot even has Ryder’s daughter recounting a past murder in the small town as Jughead often narrates in Riverdale.

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Review by C.J. Bunce

Timed for release as part of the 40th anniversary celebration of Steven Spielberg’s Close Encounters of the Third Kind, fans of Close Encounters finally get one of the most eagerly awaited, behind the scenes looks at the quintessential UFO film as Harper Design releases its hardcover chronicle this week, Close Encounters of the Third Kind: The Ultimate Visual History.  And it’s everything fans of the film could hope for.

Known for his work as a publicist on more than fifty films, author Michael Klastorin worked with Sony Pictures and Amblin Entertainment to unearth rare and never-before-seen imagery from their archives.  The book is a stunning collection of on-set photography, concept art, storyboards, and recollections of the cast and crew to create a visual narrative of the film’s journey to the big screen and through the entire production process.  First created as a story idea by Spielberg in his twenties, Close Encounters is still considered by Spielberg as one of his most personal projects.  Spielberg recounts his efforts to sell the film, his attempts to get a known screenwriter to write it only for him to finally decide to write it himself, and his original story synopsis, which remained hardly altered.  Spielberg initially wanted to reflect Watergate in his film to reflect the current zeitgeist, something of a government trying to cover up the aliens like Project Blue Book, but by the time the film was far along in pre-production it was determined audiences were tired of conspiracies as the sole defining theme.  Spielberg’s discussion of his early vision seems very similar to what Chris Carter would develop more than a decade later in his television series The X-Files.

Except those who are no longer with us, all of the players you’d expect provide contributions in the book.  Actor Bob Balaban provides some of the most interesting stories from the set, including his casting process for the film and development of his working relationship with internationally known director and film co-star Francois Truffaut.  Richard Dreyfuss’s recollections focus on his campaigning Spielberg to be cast for the role, the difficulty in the Nearys’ location shoot for the family home, and his realization from his very first discussions about the project with Spielberg that Close Encounters would stand up as a noble film pursuit.  Melinda Dillon’s role changed throughout the shoot, cutting one scene for financial reasons and adding the scene where she has the revelation that Devil’s Tower is the image in her dreams.  She also filmed much of the movie with a broken toe, followed by another leg injury caused on-set jumping from a helicopter.

The most fascinating behind-the-scenes effects discussion comes from Doug Trumbull.  His UFO storm development effect work was extraordinary.  You’ll find location photographs, visual effects explanations and process development discussions, photos of the Mother Ship model and other set models, concept art from Ralph McQuarrie, and many views of the film’s extra-terrestrials.

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Initially announcing that it would air at the end of 2017, Fox released the first trailer for the next season of The X-Files, fifteen years after we all thought The X-Files were officially closed.  On the heels of last year’s short season return, David Duchovny and Gillian Anderson return again as our favorite paranormal agents Mulder and Scully, but this round will be the last for Scully according to Anderson at this year’s New York Comic Con The X-Files panel.  But you know how that goes.

The duo is in pursuit of their son, who we learned about last year, and the focus is again a cataclysmic event that is going to destroy the world–unless Mulder and Scully intercede.

In the first trailer for the series released Sunday, we also learn that fan favorite Mitch Pileggi is back as Skinner, and William B. Davis returns as The Cigarette Smoking Man–along with some young agents we first met last year and at least one of The Lone Gunmen.

A few years ago, who would have guessed this would even happen?  Check out the trailer for Season 11 of The X-Files:

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Along with the pile-on of comedies coming from CBS All Access this Fall previewed earlier here at borg.com, Fox has its own new comedies entering the mix.  In addition to the Seth McFarlane sci-fi comedy Orville (previewed here), the network is offering a new half-hour paranormal comedy, Ghosted.  Known for his offbeat comedies, Jonathan Krisel, co-creator of FX Network’s Baskets and showrunner on Portlandia, will be directing the pilot and is an executive producer on the series.

In part a spoof on The X-Files, the series stars Craig Robinson (Mr. ROBOT, The Office, Mr. Robinson, Brooklyn Nine-Nine, Hot Tub Time Machine series) as Leroy Wright, the skeptic, and Adam Scott (Angie Tribeca, Parks and Recreation, Party of Five, Veronica Mars, Wonderfalls) as Max Allison, the believer, in a show about alien abductions and an underground Men in Black-inspired government agency.  Longmire’s Ally Walker is the captain of the agency.

Check out this preview for Ghosted:

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What artist wouldn’t want to take over an entire month of comic book covers?  We’ve seen it before, as with Ant Lucia and his gorgeous DC Bombshells cover gallery back in June 2014 (if you missed out, check them out here).  Next month illustrator Tom Whalen, known best for his retro Mondo posters, will take over IDW Publishing’s cover art with twelve variant covers created in his unique, Art Deco-inspired style.

Not only does the collection include a cover featuring Flukeman–the most popular Monster of the Week from The X-Files–for Issue #16 of The X-Files monthly, there’s a great image of Mr. Spock featured in Issue #16 of the Star Trek Waypoint series.  The rest would make a great wall collage display for a pop culture kid from the 1980s.

There’s Shredder on the cover of Teenage Mutant Ninja Turtles: Universe, Issue #12, Raphael on the cover of Teenage Mutant Ninja Turtles, Issue #72, Optimus Prime on the cover of Issue #9 of Optimus Prime, Megatron on the cover of Transformers: Lost Light, Issue #6, Baron Karza on the cover of Micronauts: Wrath of Karza, Issue #4, ROM on the cover of ROM, Issue #13, Matt Trakker on the cover of M.A.S.K., Issue #9, Snake Eyes on the cover of G.I. Joe, Issue #6, Judge Dredd on the cover of Judge Dredd: The Blessed Earth Issue #4, and Doc Brown on the cover of Back to the Future, Issue #22.

Check out all the full covers above and below:

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The Fox Network confirmed that David Duchovny and Gillian Anderson will begin working again with creator Chris Carter this year on the next season of The X-Files, following on the heels of the eagerly awaited 2016 Fox event series.  Fox seems to have found a way to make the minimum returns its needs, having resurrected other shows like 24 and Prison Break, as ten episodes have been ordered for this next mini-series.  The show is expected to air beginning in late 2017.

While you’re waiting for the next television adventures of Mulder and Scully, IDW Publishing has the further print adventures of the infamous FBI detectives in the pages of its own ongoing series.  Today IDW releases The X-Files, Volume 2: Came Back Haunted, a trade edition compiling Issues #6-9 of the monthly book.

Written by Joe Harris with artwork by Matthew Dow Smith and colors by Jordie Bellaire, we catch up with Mulder and Scully investigating the cause of a series of violent outbreaks involving a community of refugees and a mall shooting.  Another government conspiracy?  How does it all connect to secrets thought to be buried forever?

Check out this preview for The X-Files, Volume 2: Came Back Haunted:

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IDW Publishing is releasing the first issues of two new monthly series tomorrow that you’ll want to add to your comic book pull list.  And borg.com has previews for our readers of the first issue of both series, thanks to IDW Publishing (after the break below).

First up, The X-Files begins again, this time as a follow-up to the Fox TV mini-series re-launch.  The series is written by Joe Harris with art by Matthew Dow Smith and color work by Jordie Bellaire.  Keep an eye out for variant covers, too:

XFiles-01-cvrRI-     New X files variant

And the re-launch you’ve been waiting a lifetime for–Micronauts are back!  Uncanny X-Men writer Cullen Bunn will be scripting the series with artwork by David Baldeón.     Check out the great cover gallery we previewed earlier here at borg.com.

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If you’re catching this week’s reunion of Fox Mulder and Dana Scully on The X-Files, don’t forget that the story of these agents of the unexplained has been going strong each month in the pages of IDW Publishing’s The X-Files: Season 11.  Below we have a preview of the next installment available in comic book stores everywhere tomorrow.

For the record, the comic book series is considered canon, and the truth is they’ve earned it.  Show creator Chris Carter is executive producer of the series.  The writers and artists know the characters and the story.  Following right after the events in the second big screen follow-up to the TV series, The X-Files: I Want to Believe, the comic books are as good as the original series and even better than the movies and the first of this new TV series.  What does modern technology, a world of the Android phones, and the political climate resurfacing Cold War Era issues mean for Mulder and Scully’s quest for the truth?  What new secrets will be behind all the unexplained events they encounter and all the conspiracies?

Writer Joe Harris, artist Matthew Dow Smith, and colorist Jordie Bellaire provide a familiar look and feel for both the actors behind the characters (David Duchovny and Gillian Anderson) and the often dark and mysterious settings for the series that fans will appreciate.  Look for a photo cover variant and fun alternate cover to Issue #6, also (pictured below).

the_x_files_season_11__6_variant_by_roberthack

Below check out a borg.com preview of the first five pages of Issue #6 before its release in comic book stores tomorrow, courtesy of IDW Publishing:

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