A Review on Locke and Key: Welcome to Lovecraft

It’s superb how two people can work so well together to come up with a chilling, tantalizing comic book series. All it takes is a talented writer that has a knack to grab people’s attention by the balls at the very first page and a creative artist that can serve the hauntingly magnificent story on a silver yet sinister platter through his eerie artwork.

The story begins by taking the readers instantly at the edge of their seats as Joe Hill opens it with two suspicious students who suddenly show up at a summer house where the Locke family is on vacation. Gabriel Rodriguez captured and executed the trepidation so well as he illustrated the two students with an axe and a gun that they’re hiding behind them, and their pick-up truck with an incompletely concealed bloody corpse that is parked outside. Hill gives the story more suspense as the readers know about their plan whilst the wife in the story who answered the door remained completely oblivious on what is about to happen.

The first arc of Locke and Key, Welcome to Lovecraft, is about the Locke children and the mother, moving into the Keyhouse in Lovecraft, Massachusetts after the murder of the father. It focuses on how each of the Locke family members is dealing with the death and how recurring images of the event haunt them. The three Locke kids, Tyler, Kinsey, and Bode are very much different from one another and each of them has dissimilar coping mechanisms.

Tyler, the eldest of the three, is still remorseful over how he took his father for granted and we can frequently see how he just wallows quietly in his piteous pond. Kinsey, an awkward teenager who is still unsure of herself and how she fits into the world, struggles everyday to be unseen and unheard at school. Lastly, we have Bode, the youngest of them all and he happens to have the most interesting escapades in this arc. It is through Bode that Hill slowly introduces us the secrets of the Keyhouse and how the many doors of the house have different keys that can lead to various and peculiar places or happenstances. The mother of the Locke children, who has painfully survived the unfortunate occurrence, tries to handle her grief by slowly drowning herself moderately with wine.

Living with their uncle, the Locke family has yet to discover the magic of the Keyhouse. And through Bode’s curiosity and innocence, he was the one to uncover bit by bit of the secrets of the house and how it may link to a darker, stranger, supernatural realm or force. This arc also introduces the killer of the Locke father and how disturbed he really is. Hill shows the readers how this juvenile delinquent should not be taken lightly.

Locke and Key is a dark, bloodcurdling comic book series that can satisfy many of our generation and older ones as it is under the adult horror genre. Hill definitely wraps the readers around his little finger as he expertly controls their attention and gives them what they want, piece by piece. Hill’s pacing of the story is brilliant as he knows just how much and how little to give the readers in each scene and dialogue. Joe Hill can definitely outrun his father, Stephen King, on his works. Joseph Hillstrom King, or Joe Hill, deliberately used that pseudonym so as to escape from the inevitable comparison of his and his father’s works. He believes and hopes that his works would be acclaimed purely from the superiority of his writings and not because of his father’s fame.

Hill first wrote “20^th Century Ghosts”, a collection of short stories which was published in 2005, received numerous awards for Best Fiction Collection, Best New Horror, etc. He also has two published novels “Heart Shaped Box” and “Horns”. His first novel Heart Shaped Box, which was published in 2007, won numerous awards for Best Newcomer Award. “Locke and Key” is his first comic book series which was published in 2008, was immediately sold out after its initial release.

Locke and Key has been an ongoing comic book series and it now has 5 arcs. To pick up where it has left off, “Head games” was published in 2009, “Crown of Shadows” and “Keys to the Kingdom” in 2010, and “Clockworks” at present.  Locke and Key was supposed to have a series on Fox but was immediately cancelled even before it hits the tivo. Despite the ill-advised decision of Fox, you can view the trailer of the supposed TV adaptation series over the internet. Fortunately, the comic book series is still up and running. I can promise you that “Locke and Key” is very addictive. Ditch the heroin and cocaine and go for this series; it’s a healthy drug-- and a cheap one I might add, if you got it from torrents.  

X-Men: First Class

June 7, 2011

The best out of all the X-Men franchises I would boldly say, Matthew Vaughn intensified the blaze into a wildfire that was long extinguished a few years ago. Aptly fast-paced and rich in meaningful, significant stories, it is unlike the other tedious Marvel comic-book movies. Even though its plot is a far cry from the original Marvel story (which usually transpires in all comic-book derived flicks), writers Matthew Vaughn, Sheldon Turner, Jane Goldman, Bryan Singer (director of the first X-Men film), Ashley Miller and Zack Stentz (both writers of Thor) manage to suck the utmost attention of the audience into their fascinating version of the origin of the mutants and also strived to even have a slight connection to Bryan Singer’s past three X-Men films.

“First Class” starts off in Auschwitz, similar to Bryan Singer’s back in 2000, where young Erik Lehnsherr (later known as Magneto) is forcibly separated from his parents. His magnetic power becomes the interest of Klaus Schmidt/ Sebastian Shaw (Kevin Bacon), who unmercifully shoots the young boy’s mother, triggering him to unleash his stupendous power and live on with vengeance and anger. Set in the 1960s, a now grown Erik hunts for Shaw and eventually come across him in his yacht, alongside the very sexy Emma Frost (January Jones), a telepath that can metamorphose into a diamond-coated mutant.

James McAvoy, who starred in “Atonement” and “The Last King of Scotland”, appealed the viewers as he captures the actuality of the outstanding knowledge and immense sympathy to humans of his character. The film also shows how he soon after becomes Professor X, and transforms his Westchester mansion of a home into a “school for gifted youngsters.”  Raven (Jennifer Lawrence) turns out to be the adoptive sister of Charles when she trespasses into his mansion years ago. She appears to be an insecure young lady, but all the while her lust is rather obvious, even before she develops into the confident, seductive, shape-shifting Mystique. Both Charles and Raven are soon recruited by the CIA (Central Intelligence Agency), and later on recruits Erik as well, to assist in the search for more mutants. Michael Fassbender, who appeared in “Inglorious Basterds”, portrays the grown Erik Lehnsherr fittingly as he exhibits the agony within his character and the merciless attitude that harnesses his power into the ultimate weapon of annihilation-- depicting the absolute fearlessness of the legendary Magneto.

Vaughn whisks the viewers away into excitement as the movie circles around the globe: Poland, England, Geneva, New York, Las Vegas, Argentina, Moscow, and Washington D.C. He also introduces more mutants along the way, which add a variety of colors to the characters of the film. Each of these young mutants is recruited by Charles and Erik. Mutants like Beast, Banshee, Darwin, and Havok, who interestingly is the brother of Scott Summers/Cyclops, surface and add a tad of youthful energy into the intensely thrilling film. Hot young stars like Caleb Landry Jones and Lucas Till who appeared in teen hit series like Friday Night Lights and dare I say the unspeakable without nausea, Hannah Montana movie, seem to help on appealing the teen target market. Also, Zoe, the daughter of famous rock singer Lenny Kravitz, is pursuing her acting career (and not her music roots) as she plays a mutant with innate wings named Angel.

But out of all the mutants that Charles and Erik approached to recruit, it is a very well-known X-Man that strikes the most. Hugh Jackman did the shortest, greatest cameo appearance when he appears as Logan/Wolverine in his character’s usual bar scene.

So the real deal is that Charles and Erik have united to form a mutant army (even if it’s a small one, considering how little they recruit in their limited time) to bring to an end the nuclear war and the plan to eradicate the face of humanity, by battling with the other mutants that is led by Shaw. Fortunately, the empirical war that the writers chose is an interesting one. It’s funny and rather absurd though, that the Cuban missile crisis is actually contrived by mutants. But then again, all first-rate superhero films should deliver an impressive fight sequence that comes with a good war chronicle.

Now that we have seen X-Men: First Class, and have rated it, well, first-class, upcoming comic-book movies should manage to meet or perhaps even exceed the level of superiority of this film. Cross out Green Lantern though because as entertaining as it may be, it seems like a popcorn movie. Captain America, on the other hand, looks promising.

The Lake House

Sept. 8, 2010

“The Lake House” exhibits how time is not to be frittered away on the fleeting and meaningless perplexities of life. It is about two lovers who are kept apart by a time-space continuum that was never explained. There were a lot of ambiguities in this highly-concentrated romance flick. 

Alex, the male lead who is starred by Keanu Reeves, is living his life in 2004, while Kate, played by Sandra Bullock, is in 2006. The two, separated lovers exchange letters in the mailbox at the lake house that they both live in different years. The two of them meet when Alex moves into the lake house that is actually owned by Kate in 2006, which is at the same time as Alex’s in 2004. A letter from Kate is inside the mailbox when Alex checks it, and that’s how they start to converse with each other. 

Each time a letter is inserted in the mailbox, a tiny red flag would amazingly raise and descend. This is one of the mysteries in the movie that leaves the audience with befuddlement. Another odd part was the fact that Alex and Kate have the same dog in their cabalistic time loop. There apparently is no logic in the film. The romance is what keeps the viewers distracted from the absurdity; it takes them at the edge of their seats as they hope for the two love birds would soon cross paths. 

There is such an awaited happenstance where Alex did get to meet Kate—alas, it is the Kate of 2004. This Kate does not know Alex yet, but they do share a kiss that gave the audience to count on more of it.

Cinema Paradiso

September 2010

Having to see "Cinema Paradiso" is much like rekindling an old flame-- mostly a reminiscence of our pristine bygones when we used to gaze at even the most meretricious things as if they were all glistening gems. This motion picture captures the heart of its audience, more than ever to the avid aficionados of film. "Cinema Paradiso" reveals about a man's affinity with movies as his only  joie de vivre, his beloved.

The movie is unfolded with flashbacks that channel the viewers back to the years of the near end of World War 2 in Sicily, Italy. In the pastoral town of Giancaldo lies a small, old theater called Cinema Paradiso which became a red herring or respite during the war time. The protagonist of the story, Salvatore Di Vitto or "Toto", was ravished by the enchantment of movies and the mystery of how debauched a simple kiss would be.

At a young age, Toto went to the theater time and again like it was a magnetic force that pulls him in this magical vortex of silver screens. He still persisted to go to the movie house even after he was proscribed by his mother when she found out that he had spent their milk money to catch a show. He once tried to get a sneak peek of lip locking footage when the movies were being screened by the order of Father Adelfio. The decadent scenes were usually snipped out of the film by Alfredo, the projectionist.

Night by night, Toto would be astonished with eyes that sparkled with fascination as he submissively marveled how Alfredo operates the machine. The boy seemed to deem of Alfredo as his father since his real one had vanished into the throes of war. All through the years that the two had spent in their dearly loved home away from home, Alfredo bestowed his hard-earned knowledge and paternal guidance to what he already regarded as his son.

The theater was more often than not packed with eager customers, some were regular movie goers. There was not any etiquette to comply in that time of cinematic experience. Anything can be done in the murkiness of the cinema. There were smoking of cigarettes and drinking of vino, spitting each time a show ended, stomping of feet, breastfeeding of babies, jerking off in one whole row, and carnal romancing as slightly prurient footage could give explosive titillation to the wanton-deprived, hot-blooded citizens.

The flick strikes a chord with butterflies that we get when we experience first love--simple, majestic, feels like on top of the world kind. It also awakens the memory of the first aching heartbreak and that the past will keep haunting like apprized remorse.  

Giuseppe Tornatore educes the effervescence of the people as the film celebrates the luster that youth and classic age brings, and how love was found and lost. The exquisite montage of kissing scenes that were edited out from the movie screening had been bequeathed to the grown up Salvatore by Alfredo. The montage conists of absolutely the most delightful collection of kisses over the years. The simple but grandiose moments of the film can soften even the hardest heart as it lay bare how elusive life and love can be. "Cinema Paradiso" is like an old vino that is bitter when tasted at first, but gets sweeter as it sinks into you.

Surrogates

October 2009

A cross between the stoically painted “Sims” livelihood and a disastrous subversion from “The Terminator”, we get: Surrogates. This sci-fi flick shows a seemingly perfect but vapid world filled with flawlessly soignée robots that are vicariously living the daily quotidian affairs of their owners. These synthetic humans are neurally controlled by their couch potato human counterparts in the comforts of their own home. The dreams of every homosexual and dare I say, people with flaw-stricken appearances come true in this shallow and synthetic surrogated society where everybody looked like they stepped out of a GQ or Sports Illustrated Magazine.

Jonathan Mostow speculatively elicited a microcosm of the society itself of today’s time. The juxtaposition between the eerie but plausible Surrogates and the formidable Terminator 3: Rise of the Machines has certain commonness since they are both directed by Mostow. Starrer Bruce Willis plays as a flawless yet apathetic looking agent Tom Greer and partnered with an also perfectly exquisite looking woman with porcelain skin in the light of day. Rosamund Pike portrays as Maggie, Willis’ significant other that is surrogate-addicted and works as a hairdresser applying touch ups to the overly maintained facades of the surros.

The movie’s tone educes thraldom to the overreliance with machines. Mostow reminded me somehow of our pervious world. Indomitable discoveries have inundated our society as science continues to grow rapidly. Mankind has always brought forth the ameliorations of different gizmos and gadgets and have continued to build useful machines that are beneficial to our labor and lifestyle and thus, make Surrogates the product of the feasible upshot of technology.

Surely we expect a Bruce Willis movie to be an action-packed, adrenaline rushed, clock ticking suspense flick and Surrogates managed to promise the anticipations within a breezy 88 minutes.

Certified Shop-a-whoa!-lic

February 2009

"You know that thing when you see someone cute and he smiles and your heart kind of goes like warm butter sliding down hot toast? Well that's what it's like when I see a store. Only it's better."

-When Rebecca Bloomwood, the main character in "Confessions of a Shopaholic", said that statement, it was nice to know that I wasn't alone. At first glance of the movie trailer, it was like a sweet sale item that compelled me by its enticing, flavorful, delectable treat that I wanted a bite out of because I, too, am a shopaholic.  

“Confessions of a Shopaholic” is like a mannequin dressed up in a Valentino dress, accented with a Chanel Belt, standing tall with Gucci boots, and a Ferragamo bag to attract you into stepping into the store. Isla Fisher played her character, Rebecca Bloomwood, so well and she executed her physical comedy scenes quite rollicking. Rebecca Bloomwood is a journalist who's an impulse buyer that faces a huge debt because of her compulsive shopping. I was amused by the hilariousness of the movie all throughout. 

From the Christian Louboutin slingbacks, Mark Jacobs jacket, Zac Posen dress, a Miu Miu skirt, and Gucci bag, I give two thumbs up for Patricia Fields! Once again, the designer for "The Devil Wears Prada" and "Sex and the City" movie successfully enveloped the entire movie with glamorous, eye candy, high fashion clothes and accessories in the dull, gray-ish New York City. Rebecca Bloomwood was clothed with bright, attractive colors that showed her vivacious personality.

Is there love in store for Rebecca Bloomwood? She is being linked with a business journalist, Luke Brandon. The Armani and the Prada suave of Hugh Dancy's character, Luke Brandon, seems to lure Rebecca Bloomwood into him.

Ironic isn't it, to have a movie like this in this time of economy recession. Despite the staggering credit card debts by reckless shopping, Sophie Kinsella's "Confessions of a Shopaholic" sashays its way down the catwalk to strike a pose and kill the lights!