Latest from Geek Vibes Nation
Geek Vibes Nation
5 hours ago
- Entertainment
- Geek Vibes Nation
'Swimming To Cambodia' Blu-Ray Review - Jonathan Demme Captures An Electrifying Performance
Noted playwright, novelist and monologuist Spalding Gray spent eight weeks in Asia as an actor in Roland Joffé's Academy Award Winning historical drama The Killing Fields, chronicling the history of the Khmer Rouge regime. In his famed one man show, Swimming to Cambodia, Gray laid bare his experiences on set and contextualizes his anecdotes with the stark history of the region. Directed for the screen by Jonathan Demme (Stop Making Sense), rendering Gray's heartfelt, often very funny, monologue cinematic with the help of collaborators like cinematographer John Bailey (Mishima: A Life In Four Chapters), editor Carol Littleton (Beloved), and multidisciplinary artist Laurie Anderson, who is responsible for the film's evocative score. Cinématographe is proud to bring one of the great performance films, and an oft-overlooked entry in Jonathan Demme's career, to blu-ray for the first time in the world in a 2K new restoration from its original camera negative. For thoughts on Swimming to Cambodia, please check out my thoughts on No Streaming Required: Video Quality This new Blu-Ray debut from Cinématographe gives Swimming to Cambodia an AVC-encoded 1080p transfer in 1.85:1 derived from a 2K restoration from the 35mm Original Camera Negative. The fact that this title has been missing on the format for so long is unfortunate, so it is greatly appreciated that the label rectified the situation. This is a gorgeous transfer that all but eliminates any blemishes to the print including any white specks, tiny cuts or other potential blemishes. The transfer maintains impeccable film grain support throughout with nothing looking unnatural and no major instances of spiking. When you consider the age of the film and the source material, it is pleasing to see the footage looking so strong. There does not appear to be any issues with compression artifacts or any other such digital anomalies. The frame shows off some fine detail in the clothing of Gray and in some of the background elements of the stage. Colors present with a nice vividness that livens up the screen. This presentation does a stellar job of giving life to the performance. Audio Quality This Blu-Ray comes with a DTS-HD 2.0 Master Audio mono track that captures every word spoken by Spalding Gray with the utmost clarity. These stories are balanced perfectly with the light amount of manufactured environmental effects. There is not much in the way of music featured in this movie, but anything that comes up has great clarity and fidelity. This track shows no signs of age-related wear and tear such as hissing, humming, or popping. Cinématographe delivered the goods with this remastered audio track. Optional English (SDH) subtitles are included for the feature film. Special Features The Limited Edition version of Swimming to Cambodia comes beautifully packaged in a hard outer slipcase that opens up to a MediaBook that includes a bound booklet featuring new essays by film critics Marya E. Gates, Chris Shields, Keith Uhlich and David M. Stewart, author of There's No Going Back: The Life and Work of Jonathan Demme, plus select archival photo reproductions. These essays delve into the film from multiple angles and provide a great analysis in a thoughtfully written style. The on-disc special features are as follows: Audio Commentary: Film critic Scout Tafoya provides a commentary track that in no way comments directly on the film as it plays and instead gives a thorough cradle-to-grave overview of the life of Spalding Gray. Interview with Director Jonathan Demme: A nearly 17-minute archival interview with the iconic filmmaker in which he discusses Spalding Gray, his reasons for wanting to direct the film, developing the style for the film, collaborating with Gray, opening up the subject, and more. Interview with Director of The Killing Fields Roland Joffé: A new 21-minute interview with the filmmaker who directed Gray in the film featured in Swimming to Cambodia in which he discusses The Killing Fields , how he got involved with the film, shooting in Thailand, pushing his performers, and more. Interview with Executive Producer Ira Deutchman: A new nearly 13-minute interview with the producer in which he discusses the murky role of a producing credit, working with Demme, the competition for the rights to film the production, distributing the film, and more. Interview with Producer Edward Saxon: A new nearly 14-minute interview with the associate producer in which he discusses his partnership with Jonathan Demme, his thoughts on Spalding Gray, and more. Pure Nonfiction Podcast: Two episodes of the podcast that interviews documentary filmmakers featuring conversations with Jonathan Demme. Jonathan Demme's Characters (1:04:20) Jonathan Demme and Renée Shafransky on Spalding Gray (29:08) Theatrical Trailer (0:50) Final Thoughts Swimming to Cambodia is not the first movie you consider when evaluating the career of Jonathan Demme, yet it stands as a strong example of his uncanny command over the camera. The impassioned performance from Spalding Gray is captivating in its own right, but it is how it is captured by Demme that gives it a degree of execution suitable for the big screen experience. Even if you have never seen The Killing Fields, this one-man show will stir something in you with the intrigue and wit of the stories. The art of storytelling has rarely been so deftly translated to screen. Cinématographe has provided a Blu-Ray that features a spectacular A/V presentation and a great assortment of supplemental features. Recommended Swimming to Cambodia is currently available to purchase on Blu-Ray. Note: Images presented in this review are not reflective of the image quality of the Blu-Ray. Disclaimer: Cinématographe has supplied a copy of this set free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Geek Vibes Nation
5 hours ago
- Entertainment
- Geek Vibes Nation
'Doctor Who: Pursuit' Review - A Mind-Bending Trip Through Multiversal Horrors
Big Finish Productions sends listeners back into the depths of the Time War with Doctor Who: Time War – Uncharted 2: Pursuit . When we last saw the Doctor, Alex, and Cass in last year's Reflections , Alex had just stolen the Doctor's TARDIS and taken Cass alongside him on adventures unknown, determined to prove that he could do a better job saving the universe than the Doctor does. But unknown to Alex, untold horrors await the pair of them as they journey further into the uncharted. Continuing from where the previous Uncharted box set left off, Doctor Who: Pursuit offers an even more mind-bending exploration of the horrors of a Time War through a collection of thrilling and horrific stories that manage to perfectly straddle the line between epic war adventures and intimate character drama. Put simply, it's Doctor Who at its very best. 'Spoil of War' by Mark Wright When Alex (Sonny McGann) and Cass (Emma Campbell-Jones) arrive at a strange manor crewed by a staff that seems to have expected their arrival, they uncover an unusual auction where little is as it seems. Meanwhile, as the Doctor (Paul McGann) and Hieronyma Friend (Niky Wardley) chase after them, they discover they've all fallen into some kind of an alternate universe ruled by Gallifreyan Sontarans. But what exactly is being auctioned at this mysterious manor and can the Doctor and Hieronyma find Alex and Cass before it's too late? Mark Wright's 'Spoil of War' acts as both a continuation of the Eighth Doctor's previous Time War box set, Reflections , and as a pilot for a new kind of Doctor Who adventure. The story itself is a bit lowkey, with Alex and Cass mostly trying to find their footing in their new dynamic. Who are they without the Doctor? Is Alex really so different from his great-grandfather? And how does their relationship change as Alex desperately tries to run away from his great-grandfather while Cass finds herself caught in the middle of this spat? These are the questions at the heart of the story, and Wright delves into them in a wonderfully thorny and vulnerable way. 'Spoils of War' is Alex and Cass's story, even as the Doctor and Hieronyma lurk on the outskirts of the story, trying to break in. It's the kind of story that acts more as a prelude for what's to come rather than a fully formed story in its own right, but it proves quite enticing nonetheless. (8/10) 'The Tale of Alex' by Katharine Armitage Hot on the heels of Alex and Cass, the Doctor and Hieronyma arrive on the planet of Igg—only to find the citizens blame the Doctor for their plight as Tarsin the Bard (Sam Stafford) sings stories of the Doctor's last visit and how he left the population to starve after saving them from a deadly blight. Meanwhile, Alex and Cass arrived a week earlier, hoping to undo that damage. Time, however, always finds a way to reassert itself, and the planet Igg finds itself caught between two warring potential timelines leaving Alex to decide the planet's future. What makes Katharine Armitage's 'The Tale of Alex' so compelling is that it's simultaneously a critique of the Doctor's habit of leaving a world directly after saving it and an exploration of what might happen if someone like the Doctor did stay to help the citizens rebuild. 'The Tale of Alex' is a story of two warring viewpoints—the Doctor's and Alex's. Alex feels the Doctor's approach to the universe is fundamentally flawed and tries to do things differently, to save people regardless of the wider context of the situation surrounding him. And the drama rests in that tug of war between those viewpoints. Sonny McGann shines here in delving into the notion that the harder Alex tries to rebel against the Doctor and his actions, the more Doctor-like he becomes. Armitage does something quite compelling with her script too, playing with the idea of how stories can shift and change, altering your view of who the 'hero' is and who the 'villain' is. 'The Tale of Alex' asks the audience to decide whether Alex is the hero and the Doctor is the villain—or vice versa—and it thrives in those twisty, shifty, murky waters. It's a clever, well-paced little character study that dives deep into both Alex and the Doctor in the most compelling of ways. (9/10) 'See-Saw' by James Moran When Alex and Cass arrive in 1924 London, answering a distress signal of some kind, they find the city freshly abandoned; a place they shouldn't be able to get to as the Earth has been time-locked to protect it from the Time War. And yet, here they are, hot on the trail of a strange little girl singing a haunting nursery rhyme they feel compelled to complete. Meanwhile, the Doctor and Hieronyma Friend (Lizzie Hopley) arrive in 1924 London, answering a distress signal of some kind, and find the city freshly abandoned. They're in the same time and place as Alex and Cass, and yet they can't see them. And Alex and Cass, in turn, can't see the Doctor and Hieronyma. But what could have possibly happened to London? And what role does the strange little girl and her unsettling nursery rhyme play? After the previous, more character-focused, stories, James Moran's 'See-Saw' offers a dose of psychological horror. Building on some of the themes in 'The Tale of Alex', 'See-Saw' furthers the exploration of how Alex's methods differ from those of the Doctor—except this time, it focuses on how well the Doctor and Alex work together nonetheless. It's a very timey-wimey story, perfect for the Time War series, complete with the kind of psychological threat that makes your brain hurt the more you think about it. But Moran's script works exceedingly well, even if it feels very small and contained. Though the box set's overarching story kind of takes a back seat here, it all feels like it's leading somewhere, with 'See-Saw' the opening salvo of a grander battle to come. As it is, 'See-Saw' offers a self-contained dose of psychological horror in a tightly-paced, immensely creepy package. (8.5/10) 'The First Forest' by Tim Foley When the Doctor, Hieronyma (Niky Wardley), Alex, and Cass crash in the most unusual of forests, they find a world besieged by shifting timelines. But with Cass missing, can the Doctor and Alex set aside their differences and come together to find their missing friend? Or will the ever-changing winds of time bring an end to the TARDIS team? All roads lead here, and this uncharted universe is finally beginning to unfold. With 'The First Forest', Tim Foley takes various story threads led across both Uncharted box sets and begins to weave them into some kind of a tapestry. Expect answers to long ruminating questions alongside a bushel of new questions. Naturally, the less you know about 'The First Forest', the better. But Foley delivers the auditory equivalent of a season finale in the best of ways—it's an ending of sorts that also throws open the doors for the next Uncharted box set. At its heart, though, underneath all of the mindbending shifting timelines, 'The First Forest' is a story of forgiveness. It's the culmination of the Doctor and Alex's journey across both Reflections and Pursuit and even if it's perhaps a bit too easy of a culmination, it's no less emotionally satisfying. Put simply, 'The First Forest' does everything a good finale needs to do; it brings Pursuit 's ongoing storylines to some kind of conclusion while leaving you desperate to hear what happens next. (9.5/10) Final Thoughts Doctor Who: Pursuit proves exactly why Big Finish's ongoing Time War series is some of its most experimental and intriguing work. Sure, it's still very Doctor Who-shaped , hardly straying away from the general structure of a Doctor Who story. But it pushes the Doctor Who format down such unusual avenues, often eschewing the kinds of plots Doctor Who often tackles in favor of telling these very introspective stories set against an almost incomprehensible, unknowable conflict. And that dichotomy is exactly what makes these stories so compelling. They're not bogged down by the immense lore that comes with the Time War, instead the freedom of the Time War's strangeness gives them this palpable energy that permeates every single story. It's Doctor Who at its very best and a must-listen for all Whovians. Doctor Who: Time War – Uncharted 2: Pursuit is available now from Big Finish Productions.
Geek Vibes Nation
5 hours ago
- Entertainment
- Geek Vibes Nation
Celebrating 50 Years of 'Jaws': A Cinematic Milestone That Redefined Fear
On June 20, 1975, a mechanical shark named Bruce and a haunting two-note score unleashed terror on audiences worldwide, forever changing cinema. Jaws, directed by a then-28-year-old Steven Spielberg, celebrates its 50th anniversary , marking half a century as a cultural juggernaut and the blueprint for the modern blockbuster. This article honors the film's monumental accolades, its transformative impact on the thriller and horror genres, and its enduring influence on filmmakers and audiences alike. Jaws was a critical and commercial titan upon release, earning over $470 million worldwide against a $9 million budget, making it the highest-grossing film of its time until Star Wars surpassed it in 1977. Its critical acclaim matched its box-office dominance, securing three Academy Awards in 1976: Best Film Editing (Verna Fields), Best Original Score (John Williams), and Best Sound. The film was also nominated for Best Picture, a rare feat for a genre film, though it lost to One Flew Over the Cuckoo's Nest. Beyond the Oscars, Jaws earned a Golden Globe for John Williams' iconic score and was later inducted into the National Film Registry by the Library of Congress in 2001 for its cultural, historical, and aesthetic significance. The American Film Institute ranked it 56th on its '100 Years…100 Movies' list and second on its '100 Thrills' list, cementing its status as a cinematic touchstone. These accolades reflect not just the film's technical brilliance but its ability to resonate across generations. Redefining the Blockbuster and the Thriller Genre Jaws is widely credited with inventing the summer blockbuster. Before its release, summer was a slow season for theaters, but Universal's aggressive marketing—national TV ads, a wide release on 409 screens, and tie-in merchandise—set a new standard for Hollywood. The film's success proved that high-concept, mass-appeal movies could dominate the box office, paving the way for franchises like Star Wars, Jurassic Park, and the Marvel Cinematic Universe. Within the thriller and horror genres, Jaws redefined how suspense was crafted. Spielberg's decision to show the shark sparingly, due to mechanical failures during production, heightened tension and forced audiences to rely on their imaginations—a technique now synonymous with effective horror. John Williams' minimalist, pulse-pounding score became a character in itself, its duh-dun motif evoking primal dread. This less-is-more approach influenced countless filmmakers, from Ridley Scott in Alien (1979), which used sparse visuals to build terror, to John Carpenter's Halloween (1978), where a simple piano riff amplified suspense. The film's character-driven storytelling also set it apart. The trio of Chief Brody (Roy Scheider), oceanographer Hooper (Richard Dreyfuss), and shark hunter Quint (Robert Shaw) grounded the horror in human conflict and camaraderie. Their dynamic inspired ensemble-driven thrillers like The Thing (1982) and Predator (1987), where interpersonal tension amplifies external threats. Influence on the Creature Feature and Beyond Jaws birthed the modern creature feature, spawning a wave of 'nature strikes back' films. The late 1970s and 1980s saw a flood of imitators, from Orca (1977) and Piranha (1978) to Alligator (1980), each attempting to replicate Jaws' formula of a predatory beast terrorizing humans. While few matched its artistry, these films cemented the subgenre's popularity. Even today, low-budget shark thrillers like The Shallows (2016) and 47 Meters Down (2017) owe their existence to Jaws, as does the tongue-in-cheek absurdity of Sharknado (2013). Beyond creature features, Jaws influenced aquatic horror and survival thrillers. Films like Open Water (2003) and The Reef (2010) echo its primal fear of the ocean, while Crawl (2019) channels its blend of natural disaster and predatory menace. Spielberg himself revisited the template with Jurassic Park (1993), swapping sharks for dinosaurs but retaining the awe, terror, and human drama that made Jaws timeless. The film's impact extends to technical filmmaking. Spielberg's use of point-of-view shots, particularly the shark's underwater perspective, became a staple of horror, seen in everything from Friday the 13th (1980) to The Blair Witch Project (1999). His innovative use of the dolly zoom to convey Brody's shock on the beach inspired directors like Quentin Tarantino and Edgar Wright to experiment with visual storytelling. A Lasting Legacy Fifty years later, Jaws remains a masterclass in suspense, storytelling, and innovation. Its influence is evident not just in cinema but in pop culture—theme park rides, memes, and even shark conservation efforts spurred by the film's demonization of great whites. While it inspired countless imitators, few have matched its balance of terror and humanity. As we celebrate this milestone, Jaws reminds us why we fear the ocean and why we keep diving back in. It's more than a movie; it's a primal scream, a technical triumph, and a testament to Spielberg's genius. Here's to 50 years of keeping us out of the water—and glued to our screens. Note: All box-office figures and award details are sourced from historical records and industry databases like Box Office Mojo and the Academy Awards archives.
Geek Vibes Nation
5 hours ago
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- Geek Vibes Nation
GVN Talking Comics: Paul Pope On Upcoming NYC Gallery Exhibit At Philippe Labaune (Starts June 19)
When asked about his artistic legacy, renowned cartoonist and artist Paul Pope knew the impact he wanted to have: 'When I do something, I want it to be timeless,' says Pope. 'I don't want to chase the zeitgeist—I want to create something that will feel relevant in 10 or 20 years.' If you ask fans of his work and his contemporaries, Paul has achieved those goals and then some. To honor his artistic achievements, the Philippe Labaune Gallery in New York just opened The Paul Pope Exhibit in conjunction with Felix Comic Art. The exhibit will present original pieces from seminal comics, including Batman: Year 100, Battling Boy, THB, Heavy Liquid , alongside homages to European artists such as Hugo Pratt and Moebius. In addition, the exhibit will feature some of Paul's commercial art, including illustrations for the Jon Spencer Blues Explosion and The Grateful Dead, as well as some of Paul's more personal pieces. In advance of the Exhibit's opening, we were fortunate to catch up with the iconic artist to talk about his artistic beginnings, his self-published work, and the new exhibit. So we are honored to welcome Paul Pope to GVN Talking Comics. Creative Origins GVN: Thank you for sharing just a bit of your time, Paul. Since this is my first opportunity to chat with you, let's start with some of your creative background. When did you first take an interest in comic art and whose work inspired you to pursue it? PAUL: I was reading comics before I could actually read. I grew up in rural Ohio with my mom and later, my grandparents. My dad came back from hockey camp in Ontario one time with this massive slab of vivid color pictures in stacked boxes featuring outrageous and enticing characters with names like Doctor Doom and The Dreaded Dormammu. I was hooked. The stories were like complete heroes journeys cast in garish color amber, to be revisited time and time again. I'd say it was Jack Kirby and then Carl Barks (the 'good Donald Duck' artist, as he was called) who first lured me in. This was in the 70s. Comics were really hard to acquire back then, so I had that one collection, Bring On The Bad Guys from Marvel Comics, and later an issue of Kamandi and a few Disney comics. They seemed to come from their own pocket universes, unlike anything else I'd seen before. Self-Publishing GVN: As you developed your talent, you self-published some of your work through your own Horse Press, including Sin Titulo (1993) and The Ballad of Doctor Richardson (1994). What made you decide to start your own publishing concern, and did you seek any advice in doing so? PAUL: I was initially planning to be an art academic and part-time painter, like my first master artist, Pheoris West, whom I studied under at Ohio State University. We covered all the art fundamentals and I also studied art history. He was the one professor I had who was sympathetic to my ambitions to be a professional comic book artist, but he steered me to more traditional art fundamentals such as color theory, anatomy and composition. I broke into comics in the early '90s, when the self-publishing movement was gaining steam. Teenage Mutant Ninja Turtles was already huge. Jeff Smith's Bone was gaining traction, Mike Allred broke in, etc. I started working at a print shop to gain some experience and did my research and gradually made solid plans and contacts in the printing and distribution wings of the comics market. I didn't need much since I was in my early 20s and it was a good time to take risks. I read a lot of books on 'how to self-publish' and 'how to start your own company' and later met some older people in the industry who could give me good advice. A lot of it was just persistence and a dash of luck or timing. 'Chance favors the prepared mind,' as Louis Pasteur said. It's been one of my mottos since then. GVN: Eventually, you did work for numerous publishers, including Kodansha, Japan's manga publisher, First Second Books, DC, Marvel, Dark Horse, and so many others. Did your creative process change any when working for the 'mainstream' publishers as opposed to self-publishing your own stories? Working with the Audience in Mind PAUL: Not really, actually. The main challenge was that the editors required full scripts or story treatments. Before I started working with Kodansha and DC Comics (sometimes with Marvel and elsewhere), I had no editorial input at all. I just made it all up, and whatever seemed right made it to print, warts and all. I was–and am–mindful that the 'mainstream' audience might require a more detailed or rendered style, they may not want vague or experimental comics. So I try to work with the audience in mind and tell a story which hits all the quadrants, but hits it well above the bullseye. Even with something like Batman Year 100, I tried to make a legitimate and fresh Batman GN, but do it in a new or surprising way. Keeping Awards in Perspective GVN: Over the years, your work has garnered the appreciation of fans and critics as well as some of comics most prestigious awards. Did you ever feel that the recognition you earned somehow validated your approach and hard work, or are you a creator who feels like you worked for your own satisfaction, and what recognition came from that was just a bonus? PAUL: I like what Nick Cave said when he refused the MTV Music Award for Best Artist in 1996 – 'My muse is not a horse.' The awards are a sign that people value your work, but you can't throw your arms around an award and an award won't pay the bills. Honestly, the real rewards come at around 2 am when you're alone in your studio and you did a perfect page or a page which surprises and delights you, knowing it won't be seen for months or maybe years. It takes years to complete a graphic novel. It's a long haul. So the award must essentially be internal. The Paul Pope Exhibit GVN: Speaking of recognition, starting next month, New York City's renowned Philippe Labaune Gallery, along with Felix Comic Art, will host a career-spanning exhibit of your work. How did this opportunity come about, and how hard did they have to sell you on the idea of displaying your impressive breadth of work? PAUL: Honestly, if it wasn't for my girlfriend Neha this show wouldn't have come about. She was the one who mentioned to Philippe that we ought to collaborate. We were at the Will Eisner exhibit Philippe hosted months ago, and they just started talking. I am sort of a shy person, actually, so I'd have not suggested it. Philippe offered the chance and we just rolled with it. The timing is really good, though, since my 2nd monograph PULPHOPE2 just came out. So this is the official book launch for the project and a lot of the work in the show is from the book itself. GVN: When it came to decide what pieces to display, did you have complete control over that or did you work with the Gallery and Felix Comic Art to decide the direction the exhibition would take? PAUL: It was ultimately Philippe's decision, he knows his market and what will bring people into the gallery. I think I brought about twice as much work as we finally decided upon. It's a very good cross-selection of my work stretching almost 30 years, unbelievably. In conjunction with my art rep Felix Lu, they set prices and decided which pieces made the final cut. I think people will be happy to see the originals up close and personal. Most of this work has never been shown publicly. Viewer Takeaways GVN: This show will go from Thursday, June 19th, through Saturday, July 26th. By the end of the show, what would you hope that those who visit will take away from the exhibit? PAUL: Well, I chose the name 'pulphope' for a reason– we work in pulp fiction and print on cheap paper, we make mass produced disposable pamphlets and paperbacks, but within the lines and words we can contain the greatest ideas or impulses an artist can express. I want people to be inspired by the work and see an example of what you can make happen if you have a stubborn refusal to give up on a dream and you continually keep questioning and searching. When I see original art, I get inspired to work harder. Recently Philippe exhibited pages by Guido Crepax, one of my all-time art heroes. It was very moving and life-affirming. I hope this exhibit can offer that to somebody, in its own humble way. Upcoming Projects GVN: Thank you once again for your time, Paul. Before I let you go, please remind our readers about this great exhibit and any other projects you might have upcoming. PAUL: Thank you! My next book release is the first of the multi-book series, Total THB, collecting over 1000 pages of my 'lost' science fiction epic. Book one is out November 2025. I'm also working on finishing Battling Boy 2. When that is collected into one volume, it'll be over 500 pages. These things take a long time to make! Felix Lu and I also plan to open a new private commission list later this year. I like staying busy. If you are in the New York area and are a fan of Paul's work, you can't go wrong in visiting this exhibit. The Paul Pope Exhibit will be open to the public from Thursday, June 19th, until Saturday, July 26th. The Philippe Labaune gallery is located at 534 West 24th Street in New York and is open from Thursday through Saturday, from 10am to 6pm. The roots of Philippe Labaune Gallery have a strong European influence: among the artists are esteemed creators such as Lorenzo Mattotti, Nicolas de Crécy, Guido Crepax, Dave Mckean or François Schuiten. In recent years, American artists such as Landis Blair, Rebecca Leveille Guay, Mike Mignola, Frank Miller, and Peter de Sève have helped Philippe Labaune Gallery to foster a community of overlapping art collectors and comic fans from all over the world.
Geek Vibes Nation
5 hours ago
- Entertainment
- Geek Vibes Nation
'28 Years Later' Review - Grim Sentimentality Meets Gruesome Rite Of Passage
Synopsis: It's been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. One such group of survivors lives on a small island connected to the mainland by a single, heavily defended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well. Whether society unscrupulously crawls towards its own demise or technology continues to overtake every facet of daily life, it's important to keep a physical record of our history, traditions, recipes, and way of life. If movies or our current political climate are any indication, cultism and factions are an almost certain outcome. While I don't think any of us wants a hopeless future, the hubris and greed of those in charge, and who harbor most of the wealth, take us down paths that affect us more than them. Stay informed, stay vigilant, stay woke, and stay together. 'The more you kill, the easier it gets.' If left to fend for yourself, do you end up like Jimmy, Spike, or one of the rage-riddled infected? I guess you'll have to watch to find out. From the enigmatic minds of Danny Boyle and Alex Garland, 28 Years Later is grim sentimentality meets gruesome rite of passage. The highly anticipated third installment in the cult film franchise is thought-provoking, mystifying, potent, and the precise jolt the evolution of this universe needs to propel forward. While certain artistic and narrative choices are unusual or bizarre when compared to Days and Weeks , it's clear that a new direction is being taken. As every feature is connected by region and outbreak of the Rage Virus, like its predecessor, 28 Years Later is a standalone sequel. However, unlike its predecessor, this story and its characters will directly connect to its forthcoming sequel. Residing in a rebuilt future within a small, barricaded, makeshift community, those left behind and forgotten from the mainland have found a way to continue as a society. As subliminal flashes of vintage medieval footage permeate various sequences, we are reminded of how far these people have fallen, as the rest of the world outside Britain remains unblemished. Moreover, as we are taken through the secluded isle, the tight-knit population teeters on cult as 'Fail we may, but go we must' dominates a banner. As this tribe attempts to grow and thrive in less-than-ideal conditions, the story unfolds into a family-driven narrative intertwined with topical geo-politics. What begins with a traditional and transcendent adolescent rite of passage to the mainland to get a first kill soon turns into dysfunction, fear, and a coming-of-age journey of sorts. 'Memento mori.' As terror lurks behind every tree, over every hill, and swings a massive meat stick, there's no help in sight. It becomes evident that, like disasters and tragedies that take place outside of our purview, death and suffering persist as the rest of the world looks away or just moves on. While horror and trippiness endure, the focus on humanity rivals the first film. Highlighting the preservation and evolution of rituals, the moments are both beautiful and absurd. Alive with a pulse-pounding score and visceral cinematography, the film loses its footing with a sluggish middle and an abnormal climax. The ending, which sets up the planned sequel, feels like Robert Rodriguez crafted its tone and mood. 'Superman': DC's $225M Gamble To Save The DCU If you're looking for a fast-paced zombie massacre, this is not the movie for you. While it has its fair share of brutal kills and share-worthy moments, this post-apocalyptic allegory is more think piece than fright flick. Before the franchise's potentially exciting future is entertained, there is definitely plenty to unpack as it ponders and postulates life, death, and love. Its rewatchability is medium. Jamie (Aaron Taylor-Johnson) and his son Spike (Alfie Williams) in Columbia Pictures' 28 YEARS LATER. © 2024 CTMG, Inc. All Rights Reserved. Pace & Pop Contrary to what the poster or trailer may have led you to perceive, the film is much more of a slow burn than expected. While the first act delivers both shock and surprise, as the journey delves into its humanity, it slows to an exploratory creep. However, the threat of infection or violent death remains immediate. What popped for me was the creative chances Boyle took. The fever-dream flair, paired with the moments that would stimulate the inebriated, adds a clever splash of artistic panic to an already dire situation. Spike (Alfie Williams), Isla (Jodie Comer) and Dr. Kelson (Ralph Fiennes) in Columbia Pictures' 28 YEARS LATER. © 2025 CTMG, Inc. All Rights Reserved. Characters & Chemistry Starring: Jodie Comer, Aaron Taylor-Johnson, Jack O'Connell, Alfie Williams and Ralph Fiennes Anchored by strong emotional outings by some of the biggest names, young Alfie Williams delivers a standout performance. While Jodie Comer's Isla represents love and comfort, and Aaron Taylor-Johnson's Jamie depicts strength and deceit, Williams' Spike displays independence, courage, and bravery. Dr. Kelson, portrayed by Ralph Fiennes, is the voice of reason, calm, and connection to the past. Jack O'Connell gives a glimpse of the future as Jimmy. And lastly, we all get really familiar with Chi Lewis-Parry as Samson. 28 Years Later gets unleashed in theaters on June 20, 2025. Stay safe and look out for Samson's alpha. Rated: R Runtime: 1h 55m Director: Danny Boyle Writer: Alex Garland Producers: Andrew Macdonald, Peter Rice, Bernard Bellew, Danny Boyle, Alex Garland Executive Producer: Cillian Murphy Director of photography: Anthony Dod Mantle ASC, BSC, DFF Editor: Jon Harris Production & Costume Designers: Gareth Pugh and Carson McColl Score: Young Fathers Casting: Gail Stevens CDG and Rebecca Farhall
