Comics Creators

What are you watching? 2019 edition


Spoilers for ‘Paradox’, there were some interesting ideas in the film, the main one;

is the severed arm. The biggest failing of the film for me is that this is just treated as a freaky event, not something that’s developed to be integral to the resolution of the movie. The implication of the arm is either that it’s autonomous (which is a whole other story if they used it) or that it’s connected to a version of Chris O’Dowd who’s still in another universe! That means that the Chris O’Dowd in the movie has his arm in another universe too. Unlike the woman embedded in the pipework, he’s feeling no pain and the “other” arm is able to write messages from his counterpart. But after they get the gyro back none of this is explored! There are no further messages, no attempts to join forces to figure out what’s going on or open another channel of communication. They just reverse the polarity and cross the streams etc. and that’s that.

Having a cool idea and NOT pursuing it is just so disappointing.


The movie has a dozen cool ideas that aren’t explored. The implied reasoning behind the Russian crew member was something that was so cool. But it’s never developed.

Also, Re: your spoiler

The idea that it was the other universe’s one seemed cool, but then immediately made no sense because they see that his other version died two days prior. I thought then, maybe, that it was actually his arm - from the future. And that’s why it knew about the gyro, because he had told it to them then. You know, like some sort of paradox. Silly me.


I’m watching Superbowl adverts;


The best advert of the game, maybe the best Superbowl advert of the last few years. This is gold:


I thought holy crap Odell is tiny but then I remembered the Mannings are giants.


Finally binging through The End of the F**king World on Netflix - and I have to say that it is the best Stray Bullets show we never got.

I know it’s based on a comic, but the execution and tone between the two is just so starkly different. In the show it reminds me so much more of Orson and Beth and their crime shenanigans. It’s amazing how similar it could be - and a bit in Episode 6 seems straight out of Sunshine & Roses. This is pretty brilliant.


Context is everything in these things. I always have to explain to my wife when watching the anthem lineups before rugby games that that guy is not short, he’s 6’1", the one next to him is a lineout jumper and is nearly 7 feet tall. :smile:


I’ve been watching the first season of This Is Us. It feels like every episode is poking you, saying “are ya crying yet?, are ya crying yet?, are ya crying yet?”…It’s soppy as hell, but it’s well written for what it is, and the cast are really good.


The other Cloverfield movies aren’t that good either, but they had an interesting style pushed by strong marketing approach with all sorts of ARG clues spread around to create a fanbase of “players” attached to the “mysteries” of the movies.

What was disappointing about The Cloverfield Paradox was that it wasn’t special in the same way. It felt far too much like an original script that was shoehorned into being a “Cloverfield” movie in much the same way the last few Hellraiser sequels were.


I mean, I agree with Steve that Paradox would have been an average movie. Had it not been back-logged through reshoots and post-production added talking heads that jam in ridiculous stuff like “space magic, ain’t gotta explain shit”.

It just doesn’t stand as its own movie. Cloverfield did, 10 Cloverfield Lane did (despite what some might think of the final minutes). This…it just spends an inordinate amount of time actively trying to be a connective bridge.
It just ain’t a movie. It’s filler.

They spent ages hammering in that the movies are an anthology series, and the idea had 2 years to settle in, it is just idiotic that they would go back on that to this extent.


My wife loves This Is Us. She cries during many episodes. I half-watched the big episode after the Super Bowl and she had tears running down her face. She asked if it got to me and I told her no because I have no emotional investment in the characters as I don’t watch it. From what I have seen, it is a very well done show.


Deep Red. Amazing. I’ve gotta watch more Dario Argento movies, only seen this and Suspiria so far (Inferno and Opera are next on my list). I like Suspiria a bit better, but this is great, too, and possibly even more stylish. And I like Goblin’s soundtrack for this movie even more.

The movie’s about a serial killer stalking the people putting together the pieces of the killing of a psychic who, during a demonstration, proclaims there’s a murderer in the crowd. There is, and when the killer murders the psychic to shut her up, her jazz pianist neighbor and a nosy reporter start to investigate. There’s a fairly complex psychological motive at the heart of this movie, which puts it right there with the best slashers, like Black Christmas and Texas Chain Saw Massacre. I totally didn’t see the reveal of the killer coming, although I probably should have.

What I love most about the two Argento movies I’ve seen is his love of opulent architecture and settings. It gives everything an almost religious bent, which makes sense in a movie about ritualistic killings.


Inside No.9 finished season 4 with a brilliantly dark episode. Shearsmith & Pemberton are two of the most creative people around in my opinion. This was an excellent spooky tale with great comedic moments. Love this series, delighted to hear at the end that they’ll return for season 5 next year.

Favourite episode of this series though will have to go to 'Once removed’.


I watched Warren Beatty’s Dick Tracy movie today. Well, tried anyway.

It’s an astoundingly bad film. It feels like he saw Burton’s Batman and thought “I can do that” and then proceeded to demonstrate, at length, that he can’t. It’s really something when Madonna’s not even the worst thing in your film. The pacing is horrendous, the characters largely terrible (and they cram in too many villains, it’d be like if Burton had used every Bat villain in one film). Worst is the look and feel of the city, which never works. Everything looks fake in a cheap way. Rather than extrapolating out the world of the comic strip, Beatty replicates it wholesale, creating a flat, garish environment. While Burton’s Gotham (and even Schumacher’s) is weird and strange, it feels convincing as a location. Beatty’s city does not. Every time he cuts to a long shot, you know you’re looking at a matte or a model, even when you’ve not got wooden shacks jolting around pneumatically from ridiculous fist fights.

In all, I’d rather have seen some episodes of that old Dick Tracy cartoon with the dog and ridiculously racist Chinese guy.


I haven’t seen it in years. There’s been a lot written about the production. Beatty’s a legend for several reasons (mostly his love life) but he’s also a magician as a producer. He wanted that film made and got it to the screen despite a lot of opposition and (perhaps worse) indifference to an expensive film based on a character who didn’t have the pop culture recognition of Batman.

Disney didn’t lose money on it, but it was still seen as dissapointing.


Saw When We First Met on Netflix, as it’s just dropped, and I think @AntiChris will be pleased - somewhat. It’s definitely more what I was suspecting than what was feared. It plays with expectations and perspective as well.

But it’s also not the most exciting watch either. It’s fine and the cast does a good job, but the movie drags its feet at times and doesn’t balance the whole Groundhog’s Day/Click gimmick all that well. There are some stuff in the third act that could have used some more development, and cutting back on that stuff early on to focus on setting those up would have worked better. Still, nice little story.

All in all, not the worst way to spent a rainy afternoon.


You were so right. I’m sad but The Cloverfield Paradox really is worse than Life.


Eh it’s not that bad… as usual people are over-reacting…


Gave True Detective season 2 another chance this week- and I really liked it. To be fair, the plot was confusing - with key characters on screen once or twice but referred to multiple times, some hokey script choices, and Colin Farrels mustache. But the vibe between the three main leads and Vince Vaughn, and their sad backstories really come through. The action scenes are pretty thrilling, too.
B- compared to the A+ of season 1.


Phantom Thread is an excellent movie. Possibly my favorite of the PTA movies I’ve seen (Boogie Nights would be the other contender).

It’s an enchanting movie, helped tremendously by Jonny Greenwood’s subtle scoring. I would argue that he, even more than Daniel Day-Lewis, deserves the Oscar for his role in the movie. Although Day-Lewis deserves it, too.

The early parts of the movie seemed a little too fawning over Day-Lewis’s character but as the movie went on and I got a sense of where it was headed I found myself really moved by it. I think centrally it’s a movie about time–how we think we have unlimited time yet feel it slipping through our fingers. So we impose structure on ourselves to control time, to squeeze every ounce of joy and meaning from our allotment, but that structure can too easily turn into a prison.

It’s also a movie about relationships. How the entrance of someone new into our lives can sometimes feel like a poison, despite how necessary their perspective might be to shake up our even more poisonous routines.

I’ll be thinking about this movie for a while. I’m really glad I saw it; I’d been considering skipping it after seeing the trailer, which made it look really dull. It’s anything but. Every scene is enthralling and it moves along at a quicker pace than any other PTA movie I’ve seen.