Horrible Bosses does a great job at being good, despite an underwhelming premise. It is one of those films that succeeds by virtue of its casting. Jason Sudeikis, Charlie Day, and Jason Bateman have made a living playing funny straight men: people who want to be normal but their environment won’t let them. They play three middle aged guys who have a typical complaint: they hate their bosses. These bosses, however, are not just annoying kind, but the life destroying kind.
Having never been to London, what I know of it comes from television and film: fish and chips, strawberries and cream; a love for tennis and football. They have funny accents and use weird words like 'bobby' instead of 'policeman', 'boot' for 'trunk', and 'shag' for 'sex'. And now, after watching Attack the Block, I know not to fuck with their inner city youth - especially if you're from another planet.
This week True Blood season four continues to bring on the drama in 'You Smell Like Dinner', which makes for a great episode title and hopefully an effective pick-up line once I've launched my line of bacon scented perfume.
I will keep it brief since Transformers: Dark of the Moon director Michael Bay can't seem to do it himself. Do you just want to see some shit blow up? If you answered in the affirmative, then you will probably greatly enjoy this film a whole lot more than the second entry in the franchise since you will actually be able to SEE what is happening for a change. Everyone else looking for anything more than that can look elsewhere because that is all you are going to get from this astoundingly pretty, but astoundingly empty, incoherent, nonsensical and excessive film.
True Blood is the kind of show that when mentioned, can either elicit squeals or groans. Despite my love of it, it's the kind of show I often find myself making excuses for. However, after being blown away by last night's season four premiere I've decided to never again be ashamed of my love of True Blood. Your favourite gap-toothed, fang-banging waitress is back and already it's shaping up to be a bad-ass season, fairies and all.
Snaps's inspiration was a box of old photos that author and artist Rebecca Kraatz found at a flea market, apparently taken during the 1940s. "I studied the unknown people in the pictures," she explains in her introduction, "often with a magnifying glass, trying to decipher their relationships with one another."
It was a big rush when the X-Men films finally hit the screen, all my most beloved characters expanding from the page to the screen. Then X-Men: The Last Stand came along and not only did the shit hit the fan, but it was set to high, and it splattered back in our faces many times over. X-Men: First Class is a chance for redemption, and is aimed at the diehards, while also attempting to attract some new viewers.
Fly, Zenescope’s latest title, is the sleeper hit of the summer. The story unfolds through a series of flashbacks, leading the reader backwards in time, from a brutal present-day confrontation to the precise moment that is clearly at the heart of the character’s woes.
It’s safe to say that many filmgoers will always measure newcomer sci-fi epics by the standards of the classics that came before them. Close Encounters of the Third Kind, E.T. and the now thirty-to-forty year old peers that reserve warm fuzzy spots in hearts around the globe. So it was both interesting and completely logical that Steven Spielberg, creator of these titan classics, would use the talents of J. J. Abrams, undeniably a contemporary lord of genre, to, in essence, create a new film that makes tribute to his own triumphs.
We're invited into the lives of Michael and Joanna, inside their exceptional apartment. Michael is a commercial real estate agent, while Joanna is a author. These two are married. We know this because they're arguing (heh). Having recently been hitched, I've come to learn that marital spats happen for two reasons, and two reasons only: money and women. For this couple it's the latter.
Spoiler Warning: "The Rebel Flesh" (6.5) and "The Almost People" (6.6). Also, I wouldn't read any further into this post unless you've watched the entirety of "A Good Man Goes To War" (6.7) right to the very end. I mean to the last second. You've been warned, alright? Spoilers.
50 Girls 50 doesn’t try to be something it’s not. The title pretty well prepares you for what lies inside, and if this isn’t enough of a clue to what awaits the reader, then keep in mind this is Frank Cho’s new comic. Having taken on writing duties with Doug Murray, Cho turns over illustrating to his new protégée Axel Medellin.
While mugging a young woman on her way home, a gang of South Londoners are ferociously interrupted by what they think is a meteorite striking a nearby car. Seeing the youths distracted, the woman makes a run for the nearest building which happens to be her home: nicknamed The Block. Upon closer investigation, the gang discovers the object that struck the car was not a space rock at all: it’s an alien.
Written by Cullen Ben and Shawn Lee, with illustrations by Matt Kindt, The Tooth stands as a perfect example of why we NEED small publishers like Oni and Red 5 Comics. It is a wonderful story, but one which defies easy categorization and clearly flies in the face of what the Big Two/Three traditionally publish.
Focusing on licenses, and “re-developing” stagnating properties, IDW has had some major success with GI Joe, Transformers, and less-mainstream-but-even-hotter Suicide Girls comic. None of these series come close to matching the fun and excitement that IDW has returned to... Dungeons & Dragons.
