Resin Heroes

Direct Beam Comms #82


Near Dark

In 1987 there were two teen vampire movies, the first of which was The Lost Boys released at the end of July and the other was Near Dark in September. Both films are dealing with essentially the same subject of a young man being lured by a woman to become a new member of a vampire family but each movie approaches that plot in wildly different ways. While in many regards The Lost Boys is almost a perfect 1980s horror movie time capsule from actors used, fashion, soundtrack, etc. Near Dark instead was a horror film that took its inspiration from the southwest and cowboys with all the references those entail, and rather than being teen-friendly flick was instead a gory horror movie.

And while I’m a sucker for 1980s gory horror movies, I’m don’t think that Near Dark has stood the test of time the last 30 years. But I will say that two scenes in Near Dark* alone make it worth checking out that movie today.

Co-written and directed by Kathryn Bigelow who today is known for films like The Hurt Locker and Zero Dark Thirty, Near Dark is about Caleb (Adrian Pasdar). Caleb’s a cocky 20-something kid living with his dad and sister in Texas who one night is seduced by a woman named Mae (Jenny Wright), is bitten and is inducted into a family of vampires who roam the backroads of the south and pick off the stragglers of society in order to feed their need for blood. Headed by Jesse (Lance Henriksen) the family consists of members Dimondback (Jenette Goldstein), Severen (Bill Paxton), Homer (Joshua John Miller) and Mae. Giving off a Manson family vibe but in an RV, these modern vampires are on a road trip from hell stopping at every small town they cross to have a little fun and drain some people of all their blood. These aren’t the flashy vampires of The Lost Boys wearing cool, modern clothes. The vampires of Near Dark are dirty, smelly and have no use for modern society.

The crux of the movie is even though Caleb’s been turned to a vampire, he’s not yet a member of Jesse’s family until he’s killed someone on his own. And because the vampires need to feed is like a junkie’s need to get a fix, it’s all Caleb can do to not act on his impulses and end someone’s life for a little blood and cross over to the dark side.

To be honest, Near Dark is a decent movie, if a little too earnest in tone. The movie does have a surprising amount of blood and gore considering that it’s a film that’s directed at teens. But otherwise, Near Dark isn’t a bad movie, but it isn’t a very good one either.

However, there are those two scenes that elevate Near Dark to something else.

The first scene is of the vampire family in a bar there to help Caleb make his first kill. Inside are a few patrons, and since you really can’t kill a vampire by conventional means the family are totally unafraid of anything the patrons can throw at them be it billiard balls or shotgun blasts. Don’t think this scene takes place in a melee of action. It’s a surprisingly slow burn as the people inside the bar think they have the upper hand on these crazy out-of-towers but slowly realize they don’t and finally are slowly, shall we say, consumed one at a time some frozen in place with fear.

The other scene is of a gunfight in a motel after the bar scene. Here, one of the patrons escaped the bar and has brought the police to the vampire’s room. The family aren’t scared of the cops and their guns, but what they are scared of is that the police have arrived during the day and daylight hurts them. So there’s this big shoot-out and the cops are shooting into the room and the family out. Bullets hurt the vampires but can’t kill them. What really hurts the vampires are the shafts of sunlight that’s let into the room from all the bullet-holes in the walls. These shafts hit harder than any bullet and hurt worse than any rifle shot. And at one point Caleb has to run out of the room to get the group’s car and catches fire before he’s able to get back into the shade and put himself out. Since he’s a vampire the burns hurt, but they go away.

Near Dark isn’t the perfect movie but it’s got a lot going for it, if you can look past a slow start and a head scratching “would that really work?” ending. In recent years marketing materials have shied away from those used 30 years ago, which featured a blackened, bloodied and shot full of holes Severen to instead feature the faces of Caleb and Mae doing their best imitation of the characters from Twilight. Now there are some elements of Romeo and Juliet in Near Dark like Twilight, but on the whole Near Dark is more The Evil Dead 2 than something sappy like Twilight.

I don’t think The Lost Boys* has either.

Logan Lucky trailer


Halt and Catch Fire season 4 TV spot

Inhumans TV spot

The Reading & Watch List

This week in pop-culture history

  • 1945: Burt Ward, Robin, of Batman is born
  • 1978: The TV series Battlestar Galactica (the original series) debuts
  • 1985: Back to the Future premiers in theaters
  • 1995: Species opens in theaters
  • 1996: Independence Day opens in theaters
  • 1997: Men in Black opens
  • 2003: Terminator 3: The Rise of the Machines premiers in theaters

Direct Beam Comms #38


Halt and Catch Fire – Grade: A

The highly underrated AMC series Halt and Catch Fire returned last Tuesday with two new episodes. This third season finds the characters in a very different place than in the second. Donna, Cameron and Gordon (Kerry Bishé, Makenzie Davis and Scoot McNairy respectively) have moved their families and company Mutiny from Texas to San Francisco to be closer to computer technology and capital. While Joe MacMillion (Lee Pace), a serial incubator/stealer/taker of good ideas has created a company of his own that sells antivirus software, their motto is “Are You Safe?”, and has become the focus of attention he always aspired to.

I don’t know there’s ever been a TV series quite like Halt and Catch Fire that depicts what it’s like to create something from scratch. For Donna and Cameron who created their company Mutiny which started with online games but transitioned to a message board, there’s no roadmap for what they’re doing. Everything they do is brand new and they’re creating new and exciting places for people to begin meeting up online.

Lee Pace

Lee Pace

For Joe things are a bit different. He stole the core technology of his company from Gordon and has turned this nugget of an idea into a multimillion dollar empire. Joe’s real strength is of seeing the value of other’s ideas. Be it IBM with their PC that he set out to clone in the first season or Mutiny which he wanted take over in the second. Joe can see the future but he doesn’t have the skills necessary to create something himself of value. And instead of wanting to work with people to create that thing Joe will try and buy/steal whatever this is.

In Halt and Catch Fire, both Mutiny and MacMillion Utilities realize that once you have a company in a highly competitive market there’s no stopping. Everyday you have to think of new and different ways to engage with your users. If it’s Mutiny they’re creating new spaces and ways for people to connect. If you’re MacMillion you start creating software for home PCs when before your main customers were corporate users.

I think that’s interesting. For the people of Mutiny, especially, they think that what they do next will take them to a higher level of success and make life easier. And while they do become more and more successful their lives become harder and harder because there’s always someone else looking to do what they do or other, larger companies looking to take them out.

For Joe, though, success is different. He’s much more comfortable in the role as a powerful businessman. He’s been a guru in search of worshipers since the first season and with MacMillion Utilities and his role as a Steve Jobs-ish frontman he’s finally found his calling.

The Tick – Grade: B-

the-tick-07Last week, during their “pilot season,” Amazon debuted the first episode of several series, one of which is The Tick based on the comic series of the same name by Ben Edlund. I feel bad that I’m not more familiar with The Tick than I am. I never read the comic book — issues of which were quite popular and therefor pricy when I was collecting and out of my reach — and was exactly the wrong age to watch the 1990s cartoon series too.

I did watch the short-lived nine episode live-action Fox TV series, though, and enjoyed that a great deal. So I come to the new Amazon Tick pilot at a different angle than most who I suppose are either super-fans of the cult-character or totally unaware of him.

In the Amazon series, a superhero arrived on the Earth in 1908 and ever since the world has been populated by them some of which are pastiches of popular DC and Marvel characters. But instead of being heroic and serious like the Marvel and DC movies, The Tick is more slightly goofy. Which is one problem I had with the show; its tone.

The Tick is a series where one moment a character can accidentally trip over their own feet and almost do a prat fall but the next a super villain is literally executing the members of rival team on the street of a city. The show was all over the place at times from silly to horrific. And it’s not like some new creative team here has swooped in and changed around the tone of the series either. The Tick was created by writer/artist Ben Edlund who also wrote the pilot to the Amazon version too.

This is Edlund’s version from start to finish but feels unbalanced.

This first episode establishes all the characters from the Tick (Peter Serafinowicz) to Arthur (Griffin Newman) and sets up their relationship of becoming superhero/sidekick. Much of the plot is of Arthur trying to prove that a long dead super villain named “The Terror” (Jackie Earle Haley) is still alive and the Tick being the only person who wants to help him in his quest.

There’s also a bit here where Arthur’s sanity is questioned with him having issues as a kid where his blue nightlight voiced by Serafinowicz used to talk to him and Arthur now being on medication because of certain issues. So is the Tick real, or in his head? Except he’s obviously real since the Tick does battle with some baddies in the episode and leave a smoking crater in his wake.

I’m honestly interested in seeing where The Tick goes from here and hope that the issues I had with its tone get worked out if the series does get picked up for a full season run. Which we won’t know for a while and even if it does get picked up we won’t see the next episode for another year or so.

The Tunnel – Grade: B-

TheTunnel-1The UK import TV series The Tunnel ended its 10 episode run on PBS last week. The first season of The Tunnel was interesting enough but I think it was just too long for what story it had to tell.

The Tunnel follows to detectives, one from the UK Karl Roebuck (Stephen Dillane) and one from France Elise Wassermann (Clémence Poésy) who are investigating a double murder committed in the Chunnel exactly half way between the UK and France. But the case quickly spirals out of control as this double murder is actually the first “lesson” given by the “Truth Terrorist” (TT) who’s mission is to bring enlightenment to the masses on all the problems of the world by doing things like killing all the residents of a nursing home, kidnapping a bus full of schoolchildren and locking a war hero inside a meat locker to freeze to death. All of which is broadcast live on the internet.

Think a flashier and longer version of Se7en and you’re close to what The Tunnel is. All of which makes for some interesting TV, but as TT’s crimes get more complex and larger in scale the series also becomes less and less believable.

Like if TT is really terrorizing two countries, wouldn’t the UK and France assign more than two detectives to the case? And if TT really is constantly traveling between the two countries, wouldn’t this eventually lead him to being caught since surly there are records kept somewhere of who’s traveling where on what day? And, much like the crimes of Animal Kingdom, TT’s crimes become so complex and convoluted that just one slip-up along the way of 1,000 little details that need to be completed perfectly to not get caught stretch the bounds of believability and break off into some fantastical realm.

It doesn’t help matters that the big “twist” that’s comes at the end of the season, series like The Tunnel always have a twist, is apparent right from the first episode. Like, not to spoil things, but in a TV series the only reason time is dedicated to anything is because that thing is important. And once you realize this there’s something that one character does that’s obvious that they’ve been communicating with TT the whole time.

Honestly, I think that if The Tunnel had been four episodes rather than 10 I would have enjoyed it much more. Instead, it seems like much of the latter half of The Tunnel series is filler and could have easily been axed.

I did greatly enjoy the first half of The Tunnel and loved the Wassermann and Roebuck characters a lot. They have a unique chemistry I’ve never seen before — he’s a dedicated husband and father of a handful of kids yet is a womanizer and Wassermann is a woman who’s so dedicated to policing that she’s almost robotic in her manner yet wants to act more “normal.”

It’s because of those two characters I stuck with the show until the end, not because of what wild and wacky thing that TT was going to do on this weeks’ episode.


Triple 9 – Grade: B+

triple-9-movei-chiwetel-ejiofor-kate-winslet-reviewI’d been meaning to check out the movie Triple 9 ever since I’d heard of it earlier this year but waited a while to check it out on digital even though it’s been out a few weeks. This movie is about a group of crooks made up partly of cops and partly of ex-special forces soldiers who take on high risk robberies in Atlanta. But when they’re faced with their toughest challenge yet of stealing something from the Department of Homeland Security they figure the only way they’ll have enough time to pull off the job is by killing a fellow officer so that a “999,” or “officer down” code goes out therefor tying up the rest of the police giving them enough time to escape. But things get a bit complicated as the Russian mob who’re calling the shots on this criminal crew gets antsy and while killing a fellow officer is theoretically doable, in practice it’s much more difficult.

I’d been a fan of Triple 9 director John Hillcoat ever since I saw his movie The Proposition. To me, Hillcoat’s films are marked with an overt kind of brutalism not seen in mainstream Hollywood — see his movie based on the book The Road to see what I mean. So him doing Triple 9 had me interested since I wondered if that same kind of aesthetic would be present here or not? And honestly, it’s not. But I’m not sure that’s such a bad thing. Triple 9 is much more of a mainstream action movie, sort’a Heat mixed with Training Day and I’m not sure things like people being stomped to death, something that happens in The Proposition, would’ve flown in Triple 9.

Still, Triple 9 is an intense movie with a bit of heightened realism of street cops operating on the bad streets of Atlanta where the bad guys are as likely to shoot back when they feel threatened no matter what the consequences than they are to stand by and be disrespected.

And the story of Triple 9 flows very well. The crew, including Michael Atwood (Chiwetel Ejiofor), Marcus Belmont (Anthony Mackie), Gabe Welch (Aaron Paul) and Russell Welch (Norman Reedus) are in a bad place with the Russians since at any time matriarch leader Irina Vlaslov (Kate Winslet) can turn on them sending the crew to jail forever. So they end up placing themselves into precarious positions trying for just one more job in order to be let go of their obligations. Of which this high risk Homeland Security job seems to be their ticket out.

Enter Chris Allen (Casey Affleck) a veteran cop assigned as Belmont’s partner and the one they select as their prime 999 candidate. But when Allen saves Belmont’s life during a drug raid things get complicated.

The more I think of it, Triple 9 really is the spiritual successor to Heat except that whereas the criminals of Heat lead by Robert De Niro are suave Armani suit wearing crooks, the ones of Triple 9 are more street-thug is who won’t hesitate to maim or kill innocent bystanders if they get in their way or are needed to prove a point.

However, Triple 9 falls apart in a big way at the end. It’s not so much that the story’s no good, but it’s almost like the filmmakers ran out of time. For 110 minutes the story flows perfectly, but in the last 10 it’s a race to close out a story that had been going so well at that point. Literally the movie ends with one character in the backseat of a car where there’s an exchange of gunfire to close out the movie where I’m not sure that character would have ever been able to get to that car in the first place. Why do things happen this way? I can only imagine it was because that’s the only way it could have happened in the short time left the filmmakers had to tell it.

I wonder how much better of a movie Triple 9 could have been, one of the great crime films perhaps right up there with the likes of The Way of the Gun if it would have had more time to develop the ending.

This week in pop-culture history

  • 1968: Kristen Cloke, Shane Vansen of Space: Above and Beyond is born
  • 1985: The TV series The Twilight Zone premiers
  • 1987: The TV series Captain Power and the Soldiers of the Future premiers

Direct Beam Comms #37


Halt and Catch Fire

The third season of one of Halt and Catch Fire is set to debut this Tuesday (8/23) with two episodes beginning at 9(E) on AMC. The series about the personal computer explosion in the early 1980s, then the first attempts at networking and the internet, has consistently been one of the best things on TV even though the ratings for Halt and Catch Fire have been dismal. Just that AMC has so far given us three seasons of this series is a bloody miracle that should be celebrated ever year like Christmas and New Years.

The A Word – Grade: B+

This Sundance Channel series that’s an import from the UK follows an extended Scottish family as they come to terms with the youngest son’s autism diagnosis. The A Word stars Morven Christie (Twenty Twelve) and Lee Ingleby (Master and Commander: The Far Side of the World) as the boy’s parents and Christopher Eccleston (Doctor Who) as his grandfather.

I enjoyed this series a great deal, especially the dynamics within the Hughes family. All this felt very real to me. Where I think the series went a little askew for my tastes was that while it was doing all these clever bits with the family story, it was also checking all the typical “boxes” that need to be checked in a family drama. There’s adultery, ‘check’, first sexual experience, ‘check’, the grandpa who at times says inappropriate things…

Still, that’s a minor quibble at best and I genuinely liked The A Word from start to finish.


Garth Ennis Presents: Battle Classics Vol 2: FIGHTING MANN

61nOl4BMyTLThe collected comic Garth Ennis Presents: Battle Classics Vol 2: FIGHTING MANN is set to be released this Tuesday (8/23). The first series simply titled Garth Ennis’ – Battle Classics is a collection of comics writer Ennis’ favorite comic stories from the British 1970s comic series called Battle Picture Weekly. And it was wonderful, though decades years old those stories stand the test of time and were gripping and disturbing and amazing all at once. This second edition collects two new stories, one set during the Vietnam War and the other WWII and is something I’ve been dying to read ever since it was announced ages ago.


The Nice Guys (2016) – Grade: B+

I was really excited when I first heard about Shane Black’s movie The Nice Guys. In the last few years Black has written and directed Iron Man 3 and it was recently announced that he’ll be writing and directing the upcoming Doc Savage movie too. But he’s also written one of the best buddy-cop movies of all time, Lethal Weapon and wrote and directed one of my favorite movies of all time too Kiss Kiss Bang Bang.

So to say that I was interested in The Nice Guys would be an understatement. The minute it was available on digital I bought and watched it. And while there are some very good moments in The Nice Guys, I’m not sure the movie holds together enough as a whole to be considered as good as anything Black’s done in the last few years.

Set in a late 1970s smog shrouded LA, The Nice Guys stars Russell Crowe and Ryan Gosling as Jackson Healy and Holland March respectively. Healy is a bruiser who makes his living giving lumps to those who deserve it and March is an ex-cop private detective who’s decent enough at his job when he can stay away from the booze. Healy is hired to give March a beating in order to chase him off of a case of a missing girl, but afterwards ends up hiring him to look for the same girl he originally was there to warn him off when Healy finds himself in over his head.

nice-guys-movie-crowe-gosling-angourie-riceWhat follows are Healy and March chasing down leads, March getting hilariously drunk a few times and the two along with March’s daughter Holly (Angourie Rice) getting in and out of various underworld scrapes in hysterical fashion.

I think what threw me with The Nice Guys is that I never quite understood the plot of the movie — or maybe it was because elements of the plot were so odd that things never really made sense. Part of the film deals with the porn industry and a film in particular that threatens to bring down Detroit and the auto industry. But hiding the evidence in a porno seemed so far fetched and unbelievable it stretched the bounds a bit of the movie for me.

Even if the evidence were in a porno who would anyone ever believe it since it’s in a porno!?

Still, other than the case Healy and March are working on The Nice Guys is pretty great. I loved Crows and Gosling’s characters, especially Gosling who’s playing a version of a detective I don’t think I’ve ever seen before. He doesn’t play the role in a stereotypical “heroic” detective way. He screams like a baby when he’s hurt and cries, and when he’s drunk makes big mistakes.

And time and time again Healy and March’s bad luck keeps them out of trouble, onto the next clue and stumbling towards success.

Reportedly The Nice Guys was originally set to be the pilot of a proposed TV series before Black reworked the script in order for it to be a feature film and I can see that. The movie essentially ends with the setup to the next story which I’d love to see.

The Arrival trailer

“We need to make sure they understand the difference between a weapon and a tool.”

The Reading & Watch List

This week in pop-culture history

  • 1970: River Phoenix of Explorers and Indiana Jones and the Last Crusade is born
  • 1986: Night of the Creeps premiers in theaters
  • 1993: The TV series The Adventures of Brisco County Jr. premiers

Halt and Catch Fire season 3 character portraits


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First look at Halt and Catch Fire season 3


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