My Top Media Picks for 2015

Now that it is New Year's Eve, I'd like to take a look back on the media releases of 2015. This post is both a "Top 5" round-up as well as a series of recommendations if you were to have missed out on anything I mention. Some of them were hard to miss (I'm looking at you The Force Awakens), while others not so much.

Some categories don't contain five entries because I'm indecisive. One has four, while another would have more than ten if I weren't trying to curb my enthusiasm just a little bit. So, did I miss anything? Probably, but that's your opinion. Share it. Or don't. Just take a second to review my thoughts on the top picks as well as my list of honourable mentions. This list is simply a collection of content I enjoyed in 2015, not a critical analysis of what was the best.

Movies

Star Wars: The Force Awakens


   Come on. There was no way this wasn't going to take the top spot on my list of 2015 movies. Star Wars took over my life again, even more so than it did when I was younger because unlike the prequels, The Force Awakens is great! The Force Awakens reinvigorated a franchise that already had so many fans back on board purely based on the nostalgic hype of the last year. Some people have since complained that it's too much like a rehashing of the original as well as the greatest sequel release of all time, The Empire Strikes Back, but I don't see this as a negative. There are plenty of different paths broached and lots of new characters to explore that were not stolen straight from the original trilogy. In fact, I think more fans would have been disappointed had the film not stuck so closely with the themes and arcs of the originals. Everyone wanted a return to the originals and that is what J.J. Abrams, Lawrence Kasdan, Kathleen Kennedy and many others have painstakingly developed and delivered for our enjoyment. Can't we allow things to be good and accept it? Of course not. Why would anyone be satisfied with anything. That said, TFA isn't perfect, but it sure is a great Star Wars film. It's exactly what we needed in 2015. Something old that is painfully familiar, and something new that seems comfortable but embraces the new direction.


Runner-Ups:
-Mad Max: Fury Road (Stunning visuals, great cast, simple but hard-hitting story, Imperator Furiosa)
-The Hateful Eight (Tarantino's return to form, equally stellar cast, everyone has a secret, well shot)
-Jurassic World (Top-two nostalgia flick this year, great return to the series, Pratt is great)
-The Martian (Faithful adaptation of a great book, Matt Damon, return to form for Ridley Scott)
-Ex Machina (Snuck up on me, thrilling plot, Oscar Isaac, Domnhall Gleeson, Alicia Vikander)


TV Shows

Fargo (Season 2)

   The Coen Brothers film used to be the best piece of Fargo media out there. This was quickly contested by the debut of the television series in 2014. Martin Freeman, Billy Bob Thornton, Allison Tolman, Colin Hanks and the rest of the cast put in performances with help from a tight script that made me reconsider my own thoughts on True Detective as the best show of that year. The second season of the hit TV show took us back to a series of interrelated crimes in 1979 that tangles Fargo outlaws, Kansas City gangsters and Luverne, Minnesota residents. The witty banter dialogue and regional stereotypes are at their finest in this run of Fargo. You hang on every word that these fascinating characters spin, no matter how unbelievable the predicament or outrageous the crime. You question the good guys, you sympathize with villains. Everyone is human, not matter their extreme form. And they all get their chance to shine with a monologue or one-liner. The violence is fitting, sometimes shocking and always gripping. Patrick Wilson, Ted Danson, Kirsten Dunst, Jesse Plemons and Jean Smart make up on a piece of the excellent cast that season two boasts in rivalry with the first. Fortunately, the show has been picked up for a third go around, so I'm looking forward to where Noah Hawley and the crew take us.


Runner-Ups:
-Daredevil (My favour MCU content, that hallway fight scene, tight contained story)
-Parks and Recreation (Satisfying finale, everyone has their moment, not overlong or overstayed)
-Better Call Saul (More Breaking Bad content without relying on Walter White, awesome story)
-Broadchurch (Took show places I didn't expect, twists and turns, David Tenant, Olivia Colman)

Video Games

The Witcher 3: Wild Hunt

   The open-world genre dominated the shelves this year, both to the pleasure and discontent of gamers. I looked forward to The Witcher 3 for a longer period of time than the duration between when people even knew that Fallout 4 existed in June to its release this November. I'm not a Fallout 4 fan, so The Witcher was the game I poured hours into this year. I only spent a month with this title, but I put in more time than I'd like to admit while I explored the world and went down the rabbit hole of side-quests. I really enjoy a good fantasy story, and the crew at CD Projekt Red along with their team of writers and designers know how to plunge you head first into both a dense plot and a vibrant environment. I am typically a science fiction fan, but the colourful landscapes, characters and enemies drew me in. The combat was a little rough at first, and I know many thought it could have been better, but once I figured out the systems and their quirks I managed to get into a rhythm. The game is absolutely massive and the task of dredging into every corner was daunting to say the least, but it was just a beautiful thing to look at and every interaction oozed with character and depth. I think if I were to direct a relatively new gamer towards the best example of a modern RPG, it would be The Witcher 3 because it looks gorgeous, it plays incredibly well and there is so much to experience. CD Projekt would also get Developer of the Year from me as well. What a bunch of beauties they are. They were the first to put a damn thank you note in a game this year for Christ's sake!

Runner-Ups:
-Rise of the Tomb Raider (Excellent sequel, improves on story and mechanics, fun and rewarding)
-Bloodeborne (So hard, incredibly satisfying, brutally violent yet beautiful, unforgiving, faster Souls)
-Halo 5: Guardians (Love the universe, I didn't hate Locke (wanted more Chief), mechanically great)
-Star Wars: Battlefront (So Star Wars, theatrically satisfying, arcade-like shooter, gorgeous, fun)
-Until Dawn (The slasher movie game I've always wanted, tailor your experience, replay value)


Comic Books

Star Wars: Darth Vader 
-written by Kieron Gillen and illustrated by Salvador Larroca

   One story element that Star Wars thrives on is its character relationships. Darth Vader and the Emperor appear to work towards the same goal, but they are very different people and do things their own way. As a result, they clash behind closed blast doors and within the Force. Their relationship is as rocky as Han and Leia's but it is much more volatile and destructive than it is comedic. Kieron Gillen has one of the strongest grasps on this development in any canonical publication to date. If you have read the canon novel Star Wars: Lords of the Sith and enjoyed the dynamic between Vader and Palpatine, this is just as intriguing, if not a little more interesting. Salvador Larroca's art is consistent and dark to match the overall theme of the book that includes other mischievous characters like a psychopathic protocol droid and a violent astromech who join a smuggler who assists Vader in his extra-cirriculars as they avoid the watchful eye of the Empire. The end of the year brought the beginning of the Vader Down storyline that runs across both the Darth Vader book and the main Star Wars title, and it is great to see the fallen Jedi battle it out with the Rebel Alliance single-handedly. And if it helps, being a Star Wars comic book about one of my favourite Star Wars characters, and villains in general, puts it up there pretty high this year.


Runner-Ups:
-Southern Bastards (Gritty storytelling and art, deep character arcs, Jason and Jason are great team)
-Saga (Continues to break barriers, stellar art from Staples, BKV is king, space-fantasy is cool)
-The Wicked and The Divine (Gillen and McKelvie have chemistry, different, fresh story, surprising)
-Batman (Snyder and Capullo are now carving a new path post-Zero Year, consistently thrilling)
-Paper Girls (BKV, Chiang, awesome female characters, mysteriously thrilling, 80s atmosphere)
-We Stand on Guard (BKV [trend?], Canadian content faithful, sci-fi fun, Skroce's art is great)
-Descender (Jeff Lemire doing sci-fi is a good fit, Dustin Nguyen art is gorgeous, interesting world)
-Nameless (Grant Morrison and Chris Burnham team, sci-fi/occult great mix, brutally violent)
-Star Wars (Canonical addition to new universe, furthering original trilogy story, new adventures)
-Wytches (Snyder doing horror is a known hit, Jock's art is creepy and disorienting, actually scary)

Books

"The End of All Things" by John Scalzi

   John Scalzi is the most approachable science fiction author working today. Seriously. Want to get someone into sci-fi? Hand them a Scalzi book, whether it be Old Man's War, Android's Dream or Lock In. They're bound to like it. I, for one, picked it up for the science fiction and stayed for the humour and masterful dialogue. Maybe you're bigger on character-driven stories rather than interesting world building? It's got both, so your bases are covered either way. The End of All Things is the sixth instalment in the Old Man's War series, giving it the advantage of having five excellent books to build upon. That doesn't mean it can't stand on its own because The End of All Things tells you what you need to know about the current state of the galaxy and the relevant players in the storyline, and then its off and running. Scalzi proves he can build a mystery, drive the intense action and continue his trademark sense of humour through both likeable and intentionally unlikeable characters alike. This dude is my favourite author for a reason.

Runner-Ups:
-"Number Two" by Jay Onrait (More stories from a funny guy, Sochi, pooping pants, broadcast ins)
-"Star Wars: Aftermath" by Chuck Wendig (Canon book post-Jedi, frantic Empire, unsure rebels)
-"Gumption" by Nick Offerman (American history through Offerman, anecdotes, humourous)


Albums

"Free" by Hundredth

   I really enjoy following artists through their careers as they progress as musicians and as people. Hundredth has developed into a cohesive group with a tighter sound with each record. Their tracks are hard hitting and aggressive. But what is most important to me is the lyrical content from vocalist Chadwick Johnson. To an unappreciative ear or untrained listener, Hundredth probably sounds like a lot of other hardcore bands out there today. To me, Hundredth shares the message about the struggle for positivity and freedom that isn't common enough in music right now. Yes, a lot of people look for an outlet for aggression and frustration in their hardcore music but Hundredth provides an uplifting message amidst the outpouring of discontent with society and individuals who mean harm. A number of tracks on "Free" share their word on becoming a better person, considering those around you, and the personal journey.
"I don't need validation to define me."

Runner-Ups:
-"No Closer to Heaven" by The Wonder Years (transcends pop punk, continues maturing sound, new)
-"Life's Not Out to Get You" by Neck Deep (Fun sound, positive messages, old pop punk tendencies)
-"The Story So Far" by The Story so Far (Overarching theme, feels more like Under Soil and Dirt)
-"Tragedy Will Find Us" by Counterparts (Best work yet, music is elaborate, melodic, hits hard)
-"Cherry Bomb" by Tyler the Creator (Breaks away from previous themes, great production, variety)


Things I'm Looking Out For in 2016


-Interceptor by Donny Cates and Dylan Burnett (vampires, mechs, and violence, so yeah, it's going to be good)
-Batman V Superman: Dawn of Justice (I don't need to tell you why)
-Captain America: Civil War (Again, self-explanatory)
-AD: After Death by Scott Snyder and Jeff Lemire (Graphic novel from top-tier creators and Image)
-The Dispatcher by John Scalzi (audio-book first release)
-Rogue One: A Star Wars Story (Directed by Gareth Edward [Godzilla], written by Gary Whitta!)
Star Wars Aftermath: Life Debt (Canon follow-up by Wendig, looking to build and improve on the first one)
-The Revenant (Maybe Leo's Oscar? Inarritu's follow-up to Birdman)
-Suicide Squad (First DCCU film to veer of beaten path, new interpretations, expanding the cinematic canon)
-Deadpool (Finally, maybe a suitable adaptation for him)
-The Nice Guys (Ryan Gosling and Russell Crowe in a Shane Black private eye crime thriller set in '70s LA, looks funny too)
-Fantastic Beasts and Where to Find Them (Returning to the Wizarding World, and with Eddie Redmayne too!)
-The Walking Dead (Second half of Season 6 brings Negan to television)
-Daredevil (Season 2 of the show has a lot to live up to, but it will be great)

Is there anything you are looking forward to in 2016? Tweet at me or comment below to share your thoughts on the year to come in media!

The Hateful Eight Review

Quentin Tarantino films can be an acquired taste. The reality is you either like them or you don't. I'd like to think there are more people who have seen at least one of his eight films and liked it/them than those that didn't, but I haven't taken a survey and don't want to go to the trouble of doing so.

In any event, I'm going to break it to you...

The Hateful Eight is the most Tarantino-like film by Tarantino in the last decade. And that is such a great thing. So strap in. I'll say it up front. It's really great. But I'll also caution that it is just as graphic as you'd expect if you were at all versed in the ways of Tarantino. That being said, if you really are, you didn't need me to say anything. I digress.

The Hateful Eight is a western, which many agree died in the late 1970s with that era of the Cold War. The western was a common vehicle for political commentary and metaphor during the Cold War. In the earlier years of the Cold War, many that worked in Hollywood were accused of being communists. So, just think about the field that those films were being made in and the time in which they existed. Film was an excellent outlet for political and social frustration when speaking your mind was frowned upon or even incriminating.

With all of this in mind, The Hateful Eight isn't just a western because of its countryside setting or cast of characters. It is truly a modern realization of what the western film is in today's United States and the world at large. Tarantino has delivered a film about racism, bigotry, social justice and the shoot-first mentality that the United States still embodies to many of us. The Hateful Eight frames tense situations fuelled by social differences and depicts the modern American setting in post-Civil War Wyoming. It questions the different thought processes of justice, frontier justice and the morality of such justice in outlying circumstances that aren't as clear as black and white. And that's truly the theme of the film. Black and white. And a whole lot of grey.

That doesn't mean The Hateful Eight only represents the doom and gloom of America's tumbling trajectory of civil rights today. In fact, Tarantino has told a story of how even those that do not see eye to eye can come to together for a common good against a greater evil. Of course, he does it in his twisted and ultra-violent ways that we have come to expect, and accept. I feel that the story cannot be told without the graphic violence because it is just a film personifying modern American politics and society in extreme ways. The violence works in favour of these conditions, just like the colourful characters are more like caricatures of what they each represent as individuals and their own little groups. The violence is fitting, if not entirely necessary.

On the characters, they all hold a secret that slowly reveals the truth within the carefully assembled plot that plays together perfectly. Every moment is thrilling for some reason or another, even the most mundane. Behind the characters, the backdrop is gorgeous, the sets authentic and the cast just bursting with talent and expertise as they all play their parts with career-topping intensity. You'll love and hate them all in varying moments. They really are products of Tarantino.

The Hateful Eight is one of the best films of the year. It is best seen in the glorious 70mm Panavision, even though many will probably grab the leaked awards consideration copy that has found its way online. Instead, I highly recommend you pay the money to see it in the theatre. When you watch the film be mindful of the overarching themes, consider their relevance today as well as through history and try to see yourself and your surrounding society in even the most outrageous scenarios. There's something to learn from The Hateful Eight, just as there was from the westerns of a bygone era of film.

Star Wars Properties for the Future

Now that Star Wars: The Force Awakens has hit theatres and earned $1 billion world wide in twelve days, I think it's safe to say that the new sequel trilogy and era are a captivating initial success. We may have to wait until May 26, 2017 for Episode VIII, but there will be lots to keep fans occupied in the meantime. Aftermath: Life Debt and a one-shot comic about C-3PO and his red arm will release in the first half of 2016, but what about some other stories? There is no longer a vast Expanded Universe that once filled the fictional galaxy with characters, places and stories to explore, but there is an opportunity to return to this format in some way. Keeping a close eye and a controlling hand on new canon material will be an important job for the Lucasfilm story and continuity team, but that shouldn't (and surely won't) keep them from capitalizing on the world that The Force Awakens has revealed and taken fans by storm.

So what could Lucasfilm and Disney do in the time between now and Episode VIII? Here's a few things I think could make for good properties in the near future.

Books

• Journey to Rogue One! Much like the Journey to The Force Awakens event, a book about the events leading up to Gareth Edwards' spin-off film would help promote the instalment and depth of the story, possibly written by Alexander Freed author of Star Wars Battlefront: Twilight Company as he has proven to write Star Wars military and action well
• A fun romp featuring Han and Chewie's return to smuggling, maybe rounding up those Rathtars and any encounters with the Guavian Death Gang and the Kanjiklub
• Maz Kanata seems to have a rich history, and exploring her time as a pirate and a Force sensitive wise character who is neither a Jedi or Sith would add an interesting perspective for the canon universe and any preexisting events from her point of view
• Tales from Maz Kanata's Castle in the vein of Tales from the Mos Eisley Cantina and Tales from Jabba's Palace

Video Games

• A third person action game with numerous vehicle elements where the player takes on the role of Poe Dameron as he and his loyal companion BB-8 go on a mission for General Leia Organa
• An action adventure title, possibly by Telltale Games, a mystery and crime thriller involving smugglers, pirates and criminals like those found in Maz Kanata's castle on Takodana

Comic Books

Captain Sidon Ithano, the Crimson Corsair

• An ongoing title about Captain Sidon Ithano, the Crimson Corsair, and First Mate Quiggold as they pirate around the galaxy and get into trouble
• A Kylo Ren and General Hux limited series that explores their past and relationship a little further, similar to Kieron Gillen's Darth Vader comic
• The origin of the Knights of Ren and Kylo Ren's fall from the light side of the force, of course core film permitting
• The return of writer Greg Rucka to tell us of the fates of Poe Dameron's parents Shara Bey and Kes Dameron who we last saw in Star Wars: Shattered Empire
• X-Wing Pilot ongoing featuring the lesser known pilots like Snap Wexley, Ello Asty, Nien Nunb and Jess Testor Pava as they take to the skies and space in the absence of Poe Dameron who is off on missions for General Organa, similar to how DC Comics operates the Green Lantern Corps title without Hal Jordan

These are only a limited number of possible directions for Lucasfilm and Disney to go while they produce the upcoming Star Wars films. Have any ideas? Share them! 

(MINOR SPOILERS) Star Wars: The Force Awakens Review

"This will begin to make things right."

Have you ever received a love letter from someone you cared deeply about? Something that touches on the emotional connection you have with that other person, makes you laugh and cry and at the end of it all reminds you about why you share such a bond with them? Star Wars: The Force Awakens is a love letter to Star Wars fans. It's a love letter from one Star Wars fan to millions. From thousands of crew members to uncountable movie-goers. Star Wars: The Force Awakens captures the essence of what the franchise used to mean to those that loved it, and now the saga is sending that mutual feeling back.

Tread carefully. My perspective may be skewed with fandom, but I speak from that position with resolve. If you wish to avoid specific reactions, do not read further. I will comment on my general opinion of the film. I have yet to read or watch any reviews of the film, although I am aware that it has received raving responses and an overwhelming outpouring of positivity.

J.J. Abrams asked his production team what they wanted to feel in this new instalment. They wanted that same feeling they had from watching the original trilogy. A series of words come to my mind when I think about that feeling: adventure, wonder, humour, emotion, passion, good, evil, and pride. I believe every element of the original trilogy exists within The Force Awakens in these same ways. Fans have waited years to experience the Star Wars universe again, and decades in proper form. It is without question that this film has restored balance to the Force.

I do not want to comment on the details of the story or the crucial plot points, but it is still fair to note that some things are unavoidable. Of course, major spoilers will be avoided entirely, so fear not. Nevertheless, do not read further if you wish to remain as fresh as possible at this stage. So, shall we?

Star Wars: The Force Awakens hits every beat from the opening crawl to the triumphant credits. Everything is flying at light speed while remaining simple in the same fashion as the first film. Maybe the clever marketing has developed a certain level of understanding for each of the new main characters, but I felt like I knew them when they first appeared on screen. It was intentional, but it was exciting to identify Finn in his stormtrooper gear. It was thrilling to see Poe Dameron look into the blackness of Kylo Ren's mask and crack the film's first joke. It was nostalgic and mysterious to see Rey for the first time as she scavenged, sold and lived amidst junk and artifacts of a bygone era in the galaxy. I spotted an old TIE Pilot's helmet in the sand and I fell down the rabbit hole of depth within the world that didn't need explanation. And that wasn't the only thing that caught my eye.


The chemistry between Rey, Finn and even BB-8 played a major role in immersing the audience in this new tale. Their dialogue was colloquial and well-timed, but it never strayed from what would be deemed appropriate for the Star Wars universe. The film is full of humour for long-time fans with callbacks to famous scenes or lines of dialogue, but there is also enough to keep the newcomers included in the fun. Each interaction felt fresh and accessible because the characters resembled elements of ourselves rather than archetypical cutouts necessary for the plot. They all have stories that are worth telling; some that have been in this film, and others that will be in time. Kylo Ren remains the most intriguing character in my opinion as his history unfolds very closely with the core story. He is filled with a rage that even Darth Vader did not exhibit, and it makes him unstable as the primary villain. His motivations are not clear, and even to himself it seems. The fury displayed by his lightsaber is a clear reflection of his tormented soul and his actions portray it just as overtly.

The return of old characters is not overshadowed by the newcomers, but they are very much secondary to the new direction of this trilogy. To me, that is okay because the saga is moving forward with the new generation of characters and viewers alike. This is not to say that the fan-favourites of old are unimportant. General Leia, Han Solo, Chewbacca and Luke Skywalker are still crucial pieces of the puzzle that I am sure we will piece together over the next five years. It was nice to see other old faces return like Admiral Ackbar and Nien Nunb. C-3PO steals his scene and R2-D2 will continue to play his role as Skywalker's faithful astromech.

The film carried a pace that never stumbled, and a continuity that did not confuse the story. In terms of Abrams's direction, The Force Awakens is beautifully shot and crafted. I know some people were worried that it would look like JJ's efforts on Star Trek and of course the lens flare jokes were rampant for a while, but none of this is a concern. The film feels and looks so much like Star Wars that there is no discernible "JJ Stamp" on it, other than his name in the credits. Come to think of it, the fact that is was so true to the franchise is directly linked to JJ because he became a filmmaker having been inspired by Star Wars.

The Force Awakens also packs quite a punch in the action department. The ground battles are brutal and the aerial combat is hot and fast. In a world that looks so tangible, the action benefits from such believable set pieces and convincing visual effects that never seemed to falter. The cinematography work on the TIE Fighter, X-Wing and Millennium Falcon flight shots is just mind blowing. You feel like you're right there in the thick of it and it never loosens its grip. The destruction and mayhem remain true to the original trilogy with plenty of sparks and plumes of smoke that look more like 1977 pyrotechnics and model effects than realistic explosions, but that being said it never looks cheaply rendered. Of course it doesn't. This is Star Wars in 2015 and it's done with the intention of emulating the visual appearance of the original trilogy.

If there is one thing I am disappointed by, it is Captain Phasma. Gwendoline Christie as a Star Wars villain just screams "awesome" and Phasma's greatest moment comes early in the film and it eventually falls short. I jokingly predicted that she would be the Boba Fett of the sequel trilogy, appearing briefly and not living up to the wild expectations of fans such as myself. It is to my own dismay that she is very much like Boba Fett in this film and for all the wrong reason. Rather than putting on a display of leadership or aggressive combat skills, she is used in a third act development that involved a (rather good callback) joke to release some tension before boiling over in the scenes that followed. Alas, I don't think we have seen the last of Captain Phasma, so I will reserve my worries. The elusive Supreme Leader Snoke is one character I would like to see explored further, which is sure to come. General Hux actually defies the idea that no one is entirely evil, only differently moral, as he is a rather fiery evil man with purely evil intentions. But they didn't say that about Hitler when he rose to power.

I will not spoil the final battle, but I will say a few words on the way I felt about it. Something Star Wars has missed for over thirty years is emotion and the extension of such emotion in the aggressive actions of characters who are both good and bad. Better yet, it seems that other than Anakin's brief moment of convincing character development at the end of Revenge of the Sith, we have not had a bonafide antagonist who is fighting for what they believe is truly and undoubtably right and justified since Darth Vader. Sidious was evil, Dooku was played by Christopher Lee and how could Darth Maul look like that and be convincing with altruistic intentions? But Kylo Ren isn't exactly evil. He is conflicted, frustrated, confused and driven, even if he doesn't know by what exactly or to where. The pent up rage and eruption of emotion in physical confrontation is more natural than we have ever seen in Star Wars. Luke's final meeting with Vader in Return of the Jedi contains traces of this crucial element, but it does not compare to the level of passion and raw determination witnessed in the climactic scene of The Force Awakens.

In short, I loved The Force Awakens. It is a triumphant return to the big screen for one of the most beloved franchises in film history and it did not fall short of expectations. Instead, I would argue that it exceeded mine. I would place this instalment up on top with the likes of Star Wars and only just narrowly beneath The Empire Strikes Back because that film is perfection (and the product of an already great world created in the first much like TFA). The Force Awakens should not be passed over. It won't be. That's absurd. Haven't seen it? Go, you scoundrel! I saw it in IMAX 3D which is definitely worth a screening if you get the opportunity.

One Scene Can Make All the Difference: The "Cantina" is Crucial to Star Wars

There is one scene in each Star Wars original trilogy film that inspires wonder and intrigue within the mysterious galaxy far, far away. In Star Wars, it's the Cantina Scene. This encounter at Mos Eisley set the standard for what makes an immersive environment that is both familiar and alien to the viewer. To me, it's all about the variety of beings and unknown histories of the spacer buying a drink or the two conversing aliens in the corner booth. The Cantina experience we have as viewers is most akin to Luke's first time in this space port, which, as Ben Kenobi notes, is a wretched hive of scum and villainy. We sure aren't in the Jundland Waste anymore, Luke. We're a long way's away from Uncle Owen and Aunt Beru's homestead. This was Chalmun's Spaceport Cantina!

The jazzy music played by the Cantina band, also known as "Mad About Me" and consisting of a Bith quartet, sets the scene with peculiar sound and visuals surrounding our heroes, many not paying any attention to their entrance besides the bartender and the immediate patrons. Luke gets involved in a confrontation with Ponda Baba and Dr. Cornelius Evazan, but Kenobi steals the scene (and Ponda Baba's arm) with a swift swipe of his blue lightsaber. If the Cantina customers weren't paying attention before, they sure were at that moment. Of course, it's really nothing new to them, and so they turn back to their drinks. Think about that. Someone loses an arm and it's business as usual. Just another day in Mos Eisley. Forget about it. Mind you, the Imperial troops don't take too kindly to the violence.

With consideration to the now defunct Expanded Universe, there were many stories to be told in this one scene. Who were the Snaggletooth aliens (Zutton and Zutmore), or that pilot (BoShek) Ben was speaking with before meeting Chewie? Why did Cornelius have the death sentence on twelve systems? How about that pair of Duros in the back having a very active conversation in their native language? Not knowing every single story in the film or series of films is what makes this scene so excellent. There is a rich world beyond the Skywalker legacy that we follow, and it doesn't have to be explained. It is serving its purpose by throwing us into a lived-in world. You cannot know everything, but neither could Luke. If you weren't feeling immersed before arriving in Mos Eisley, surely the Cantina helped you dive in.

The Empire Strikes Back doesn't have the same Catina scene by formula, but there is one instance where the viewer is thrown into an encounter that leaves us wonder "who were they?" On the bridge of the Executor, Vader speaks with a series of bounty hunters who all look menacing and aggressive in their unique ways. Boba Fett gets the spotlight and the iconic dialogue, and he does remain my favourite of the mercenaries, but what about the others? What's up with that lizardheaded dude (Bossk the Trandoshan) or the protocol droid guy (4-LOM)? Of course, there is a lot of Expanded Universe content, but the scene holds an equally intriguing atmosphere surrounding the bounty hunters. Each character has a grimey history to them, with physical traits being the only glimpse into their deep worlds. I mean, who did Boba Fett disintegrate last? Crazy.

Return of the Jedi brings us back to a Cantina vibe in Jabba's Palace. The worst of the worst on Tatooine hang out with the gangster and his friends like Salacious B. Crumb and Bib Fortuna. This place is full of aliens new and old as well as shady humans and droids. What kind of life would lead some of these criminals and undesirables to spend time with Jabba the Hutt way out in the desert on an Outer Rim planet? How did Max Rebo and his fellow bandmates land a residency at the Palace? Does Beedo the Rodian hate Han for killing Greedo? How did that Jawa get separated from his scavenger friends? It's a pretty interesting place, especially when Lando Calrissian is able to enter in disguise and no one questions the continued presence of the bounty hunter Boushh who is in fact Leia. The music is similar in mood to the Cantina and the company is just as questionable.

So, why am I thinking about Cantinas and bounty hunters? Well, with the release of The Force Awakens less than a week away, it has me pondering the atmosphere and environment of the 2015 sequel. JJ Abrams has confirmed that a Cantina sequence does occur and there has been music written for the unique experience. I believe it will occur in Maz Kanata's (Lupita Nyong'o) palace where Finn, Rey, BB-8 and presumably Han and Chewie visit at some stage in the film. It's supposed to be a meeting place for many pirates and spacers like the Cantina, so hopefully it serves to immerse us in this world, not just for nostalgia purposes but for the depth of the Star Wars galaxy and the sake of a lived-in environment that made the original films great.

Why Star Wars: Battlefront is Okay For Right Now

I know people think Battlefront should have a more prominent singleplayer campaign as opposed to a series of semi-canonical missions. Star Wars is about character arcs and narrative, right? I get that. I agree. I wanted a Battlefront campaign, too, believe me. But also believe me when I say that it's okay that Battlefront doesn't have a narrative campaign, and it's possible that the game, and us as fans, are better off with a multiplayer shooter right now.

Star Wars: The Force Awakens is a month away and it has already captured our collective fan-minds with mysterious  glimpses into the story and characters. Hell, I love Finn and Rey and I don't really know them yet! I know that no matter what despicable thing Kylo Ren does, I'll still love him because I've got a thing for hooded masked character designs. Needless to say, the world is counting down to Star Wars more than anything else this holiday.

Strange obsessions aside, I don't think we could handle or really want an additional narrative right now. Especially not one that gets shoved into the "canon" and blasted out in time to meet a deadline like November 2015 ahead of a major film release. Yes, there are books and comics, but these things have yet to intertwine with The Force Awakens in a significant, consequential way. Star Wars: Aftermath  kept its distance, Shattered Empire barely even scratched the surface of the time between Jedi and Awakens and I don't think a video game could have helped. And a game set during the original trilogy with the theme of Battlefront would have been what? A war game?  A military-centric plot and character set about the toils of war and the struggle of a soldier within the bigger picture? Oh, you mean Rogue One: A Star Wars Story? You'll get that next year.

Right now, I want to feel the way I felt when I saw Star Wars as a kid. The way I feel when I see Star Wars now as an adult. I want to experience the joy of a familiar world. I want comfort, not the uncertainty of wading through new characters and stories because I'm waiting for a full fledged film. So, why not submerge myself in an interactive version of the original trilogy that doesn't carry the burden of trying to captivate me with a new tale all while I'm more than preoccupied with The Force Awakens? I can't be the only one who is thrilled with the way The Force Awakens looks with its lived-in set pieces and wondrous alien worlds akin to the original trilogy. JJ Abrams and Lawrence Kasdan have purposefully made a movie that evokes the same feeling as the original trilogy, so a game that doesn't muddy the water or tread over narratives in its attempt to give me that feeling in preparation for The Force Awakens fits the bill.

Star Wars: Battlefront looks, feels and sounds (for the most part) like the films. The pyrotechnics are theatric, not realistic. The way a stormtrooper moves and subsequently dies looks like an actor taking the fall. The sparks flying off the wall with a missed shot scream "film," not real life. There are a ton of game modes, and maybe they aren't all amazing, but I'm sure there's something for every fan in this game. I'm quite partial to Fighter Squadron because it brings me back to the Nintendo 64 days with Rogue Squadron. I played the hell out of that game. Battlefront isn't a game of the year contender, and it isn't the greatest entry into the Star Wars catalogue, but it is serving the purpose it was intended to ahead of The Force Awakens.

Star Wars: Battlefront may not be the imaginative canonical singleplayer campaign we wanted, but it's the multiplayer shooter we need right now.

The Two Camps ('kamps?) of the Alien Franchise

To the casual observer of pop culture news, the debacle of the Alien series and its future may be a little confusing. Ridley Scott returned to the universe that he helped create with the 1979 classic Alien in the form of the 2012 sci-fi thriller Prometheus. I went into that film with far too much self-promoted hype and was very disappointed in the early hours of Thursday June 8th after taking in that midnight screening. It was rough. I dragged my friend Dave to that after making him sit through Alien and we haven't talked in a while. So, thanks a lot Ridley Scott.

I thought Prometheus was going to be a true Alien prequel with direct references to the original film and callbacks to iconic creatures and places. Instead, Ridley Scott delivered a movie that lacked the essence of a 1970s future and the horror that made Alien great, all the while shoehorning in explanations for aspects of the original that didn't need any backstory. (I'm not knocking the aesthetic of Prometheus, which in itself was gorgeous, but it was not "Alien"). Weyland-Yutani is very present in the film, the iconic alien ship and space-jockey designed by the legendary H.R. Giger receive a lot of screen time and the subplot of android and AI is developed similarly to the way Alien went about exploring the android Ash. However, we don't see a traditional xenomorph, save for the blue thing that crawled out of the Engineer at the end. I understand that since a human wasn't the host it looked differently, but people did become infected at various stages through Prometheus and instead they went zombie-insane rather than chest-burster like good old Kane in Alien. So in a way, Ridley Scott was being truthful that Prometheus was not an Alien prequel, but instead a Weyland-Yutani prequel.



It's not entirely Ridley Scott's fault that I was disappointed in Prometheus. It was my fault as well because I expected an Alien film. Ridley Scott explicitly stated on more than one occasion that Prometheus would be its own film within the Alien universe, allowing it to stand on its own as a sci-fi film for 2012. If Ridley Scott wanted to make a sci-fi film, why did he have to shove it into the Alien property? Why make any reference at all? A new film could have explored ancient life in the galaxy, the dangers of artificial intelligence and corporate exploitation of science and exploration. I would have fully embraced Ridley Scott's return to sci-fi if it were a new property simply because I know what he has done in the past and I would like to see him deliver his interpretation of the future from today's vision. But that's not what we got. Alien was ripe for the picking and had all of those open-ended plot questions and an under-scrutinized world.

In the wake of critical mediocrity and fan disappointment, Ridley Scott put his Prometheus sequel on hold to tackle The Martian. Maybe it's too early to say, but I think that film will be regarded as a triumphant sci-fi classic in the same way the Andy Weir book will become. So, I guess we can trust Ridley Scott again, especially if he has a good writer working for him like he did in Drew Goddard for The Martian. I know he's the butt of many Lost jokes but let's face it, Damon Lindelof just didn't work out. At least, that's how it appears and the way it's been spun thus far.

But pump the brakes a second here. Before The Martian released, Neill Blomkamp, director of District 9 and Chappie released his take on an Aliens (1986) sequel through concept art on social media and immediately caught the eye of nostalgic fans. Alien and Aliens are two very different films, but the argument can be made that there is a larger following for the action sequel than there is for the original horror film. The online attention for Blomkamp's ideas drove Fox to consider the cult sci-fi director for a new Alien film within the universe that Prometheus ultimately let down.

Concept Art for Aliens sequel by Neill Blomkamp

Fox reached out to Blomkamp and they made a deal for him to helm an "Alien" film, which differed from Ridley Scott's Prometheus series. This was exciting news for Alien fans who feared that Prometheus would continue down the convoluted road it had set out on in 2012. Blomkamp confirmed that he intended to tell a story about Ripley and Hicks from Aliens, and I assume that this would effectively erase the mess that was Alien 3 and Alien: Resurrection. He was posting small glimpses of the pre-production process like more drawings and an awesome pulse rifle prop. Everything was looking up. We'd have Alien 5 (or 2.5?) as early as 2017 and the world would be right again.

Pump those brakes again because this is where the situation becomes as confusing as a Lindelof plot. Ridley Scott, hot off of The Martian, revealed that his Prometheus sequel would be titled Alien: Paradise Lost. Funny, because I recall him stating that Prometheus was not a direct alien prequel. So how can Prometheus, a film that is not a direct alien prequel, have a sequel beginning with "Alien"? Now, I understand that Prometheus is leading us towards Alien, and Blomkamp's film is a sort-of sequel to Aliens, but this is getting a little odd.

If Ridley Scott wants the Prometheus sequel to veer a little closer to Alien, that's fine. The Prometheus was the ship that the explorers were traveling on in the film and it makes sense to use a different title. But in late October, Blomkamp confirmed that his Aliens sequel is officially on hold for the time being. This came only shortly after Ridley Scott made mention of his Alien-esque sequel title. He directly cited Prometheus 2 as the reason for his venture being put on the back-burner. If we're being honest, Ridley Scott has far more influence on the industry and at Fox than Blomkamp does, so if he wants his film to come out before Blomkamp's that is understandable.

I believe that Ridley Scott wants his film to overtake the fan interest and hype for Blomkamp's Alien film because Prometheus had left such a bad taste in our collective mouths. In a recent interview, Ridley Scott made reference to his new film as titled Alien: Covenant rather than Paradise Lost. He did so casually without noting that the title was changed or that he had even used Paradise Lost in the past. And today, 20th Century Fox revealed that Alien: Covenant is the official title for the Prometheus sequel and that it is headed for an October 6, 2017 release. The synopsis refers to Covenant as the second film in an Alien prequel trilogy and that it will connect directly to the 1979 classic. Covenant is the name of a colony ship that stumbles onto a planet inhabited by the android David who survived Prometheus. The title card art evokes the original title. In fact, if you threw the image in front of me I would have beamed with the excitement that the excellent 2014 survival horror video game Alien: Isolation was getting a sequel. But, I'd be wrong.

I don't know what Ridley Scott has in store for his prequel trilogy, but I am interested in seeing if he will right the ship with the next film. The title treatment already looks more Alien than all 124 minutes of Prometheus that I have to check my hype levels. I have learned not to get my hopes up for this series, but maybe Alien: Covenant will fix the franchise in the same way Alien: Isolation redeemed the xenomorphs in video game form after Aliens: Colonial Marines threw it all away.

I want to see Blomkamp's take on Aliens, but if I have to see Ridley Scott's next instalment first I can deal with that. I think.

Spoilers for AMC's The Walking Dead Regarding a Character "Death"

I'm giving you fair warning now. If you aren't caught up on The Walking Dead or intend to watch it at some time in the future and wish to avoid spoilers of a higher magnitude such as character deaths, turn back now.



Are you still here?

Alright, so chances are you either had this "death" spoiled for you, or you saw it live and were devastated. Because everyone loves him.

I'm talking about Glenn.

Anyway, let's get down to it. Many people are skeptical about this death for of a number of reasons that have already been identified by major media outlets and voices in pop culture. And maybe I missed someone else point this out but I have an additional piece of evidence that suggests Glenn is not dead and we have been subjected to a major fake-out. First of all, we do not see Glenn being torn apart. We see him covered in flowing blood, but it is more likely the blood of Nicholas played by Michael Traynor. When major characters die (Glenn being a major character) on The Walking Dead, the actors appear on the Chris Hardwick-hosted Talking Dead post-show on AMC. Steven Yeun did not appear on the show the evening following the October 25, 2015 episode. But that's been a common indicator for media personalities.

I say whatever.

ET Online exclusive Set Photo from The Walking Dead

The biggest sign that Glenn is not dead (yet) is a set photo published in the September 15, 2015 Entertainment Tonight Exclusive Article by Leanne Aguilera who reported that Paul "Jesus" Monroe must have been cast and was spotted filming his scenes in The Walking Dead.

Anyone familiar here?

Glenn can be seen quite clearly behind and to the right of Jesus in this set photo. As of right now five episodes into the season we have yet to see Jesus, or a meeting between Jesus and Glenn. We haven't even seen Daryl or Abraham back with the group who are also seen in this photo. Of course, I am making the assumption that this is in fact Jesus because he has not been officially revealed by the showrunners or AMC. But it's hard not to see that this is the character who debuted in issue #91 of the comic book. It would also be timely for him to arrive ahead of the mid-season finale. Jeffrey Dean Morgan has been cast as Negan who debuted in issue #100 and will appear before the end of Season 6.

It would be very effective to fake-out the audience on Glenn's show death and have him confront Negan in the finale. But I'll let the comic readers take that as they may and the TV watchers to wait and see.

"But Was It Fun?": Halo 5: Guardians Review

A Long-Time Fan

I have been playing Halo for a long time. It's the title that pushed me into the core gaming community and has kept me a part of it ever since. It's the reason I've been an Xbox-first gamer and it drove my interests in literature and other media as I've developed a keen eye for science fiction and military science fiction. I read the books, I read the comics, I watch the animated features, the episodic series, collect statues and figures and so on. I know Halo pretty well in and out. I'm no pro, but I have enjoyed the franchise just the same. It's like the Star Wars equivalent of video games for me.

So how does Halo 5: Guardians stack up against the rest of the series? And how does it fit in the Halo Universe? Let's take a look!

New but Familiar Gameplay

The core mechanics and gameplay are a refreshing take on the series that made its name on slow-moving and heavy heroes. The series may have begun with no sprinting and tank-like mobility, but the overall lore of the universe allows for these super-soldiers to maneuver much more fluidly. What good is a Mjolnir suit if you can't crash through the enemy or mantle and clamber onto a ledge? The thruster packs have always been there to use if needed, but they weren't in the games. Now you can dodge out of fire or across a gap to make leaps you never could before. But be careful. If you get caught with your shields down and decide to make a quick sprinting exit, they won't recharge until you stop. For the "purists" who believe sprinting shouldn't be in the game, this adds a kink in the armour that limits your ability to motor on through enemies with ease. As a result, the mobility remains fun and frantic. You feel like a walking Spartan tank but you don't lose the sense of danger in the face of the enemy.

Many fan-favourite weapons make a return such as the AR and BR along with a host of Covenant and Promethean weapons that have always looked and acted impressively in your hands. It was a bit upsetting to see the SPNKR rocket launcher go by the wayside, but the new one can fire a heavy salvo. There seems to be more than one tool for any situation. And they feel so tangible and hefty with the Xbox One controller and its duel vibration packs in the triggers. I have always loved this feature and each time I play a new game it seems that they have improved on the function.

Vehicles remain a staple in the Halo gameplay, making a long running mission pick up in a flash, or should I say Phaeton. Oh boy, are those Promethean aircrafts fun. I've always enjoyed the Banshee and even that Hornet in the past, but the Phaeton's controls feel better than the Hornet's and it packs a punch.

The level design can be a bit confusing at times, but it sticks with the mostly linear pathways and grand-scale structures. There are a number of pathways to choose from in a lot of different situations, so flanking can be made easier, but it also works in your enemy's favour. If you take your time to look for hidden passageways and caves, sometimes you will come across vehicles or weapons caches that will give you the advantage in a pinch.

Past Halo games have been primarily single-play games in terms of story, but co-op has always been an option. Before Halo 5, I used to pretend that the second player was another Spartan II like Fred, Kelly or Linda, making it more fun than two Master Chiefs running around. The lore has always supported the opportunity to get in a squad and combat the enemy together, but it always seemed a bit awkward in the core games. Now, Halo 5: Guardians allows you to play in a fireteam more naturally with squad-based combat in both single-player and co-op gameplay. As John-117 you lead your fellow remaining Spartan IIs in Blue Team and as Spartan Locke you command Fireteam Osiris, made up of other Spartan IVs Olympia Vale, Holly Tanaka and Edward Buck, the fan favourite former ODST played by Nathan Fillion.

Lore Continuity and Fans of the Universe

Halo 5: Guardians seems to have been written with fans of the extended Halo lore in mind. At least, for the most part. The Halo books have told great stories about the Spartan IIs, IIIs and even sometimes the new IVs, but some of the greatest instalments were written by Eric Nylund. He and Frank O'Connor created Blue Team in Halo: The Fall of Reach and paved the way for a deep story within the core game experience. Halo 5 doesn't exactly explain any of Blue Team's story or relationship, possibly assuming you've heard the story or will seek it out. However, even a fan of the lore would like to know "how the hell did Chief find Fred, Linda and Kelly again?"

Spartan Locke and Fireteam Osiris are new additions to the Halo canon, if you don't count Locke's time with ONI in Halo: Nightfall, which does not come recommended. These Spartan IVs work well together and I feel the writing and dialogue flow suited them better. Buck was a fan favourite character in Halo 3: ODST and makes a triumphant return as a Spartan in Halo 5. He carries the charisma for all of Osiris and they would have suffered without him. I wasn't given any reason to like this team other than Buck, but their chemistry and playability allowed Osiris to grow on me. Even Spartan Locke wasn't such a bad guy. Ah, yes. "Bad guy," which leads me to my next point.

Misleading Marketing and Locke-Sided Gameplay

Halo 5: Guardians has been introduced to fans as a "Hero Vs. Hero" story line pitting Master Chief and Spartan Locke against one another. Advertisements and live-action commercials promised a competitive relationship and general dislike between John and Locke, what with Chief being officially dead according to ONI and Locke's mission being a recover or kill order. Chief was branded as a traitor depending on the perspective the marketing took at the time. But in the game, Chief goes rogue with Blue Team and Fireteam Osiris are ordered to retrieve them. He is given permission to use deadly force, but he doesn't. Chief and Locke only have a very well choreographed fist fight which I found to be similar to the fight between Cooper and Mann in Interstellar because of the physical display amidst a universe-spanning storyline of greater significance. When Locke finally reaches Chief they come out together and Locke is made a hero for preventing Blue Team from being led down a dark path. Chief is not officially dead at any time, and Locke isn't the aggressive man I'd been told he was.

I'd like to make a side note regarding the gameplay split between Chief and Locke, and it may upset longtime fans of John's story. There are fifteen chapters that make up the full Halo 5 campaign, but Chief is only playable in three of them. Three! The main character, the beloved mascot of the Xbox isn't even in his own title for more than twenty percent, and when he is he is hardly the hero he has always been known to be. This is incredibly frustrating for fans and it doesn't bode well for the future of Spartan Locke. He may be a good character but he is not a replacement for Spartan-117.

A Return to Multiplayer Form

Halo 2's arena multiplayer changed the game for console shooters in the years that followed, even making it hard for its successors to match or surpass the feat achieved by the sequel in 2004. I believe Halo 5's multiplayer modes are the best in the series since Halo 2, with the return of 4v4 arena and a new addition in Warzone. The new mode combines campaign-like objective based PVE with competitive PVP multiplayer. Spartans must capture their base by clearing out AI players and defeat bosses around the map all while defending themselves and their base from enemy online player and attempting to take their locations as well.

Warzone is a long battle, but lots of fun because Halo 5 has introduced a Requisition System. Players unlock Req Packs by gaining experience and hitting level milestones, and depending on XP spent and the level hit, the Req Packs could be a bronze, silver or gold tier unlock. Players unlock temporary vehicles, special weapons and abilities for Warzone as well as permanent unlocks like armour and weapons skins. This makes levelling up a lot of fun for Halo 5 and builds on the drab system introduced in Halo 4. I'm always on the lookout for a cool new helmet or an Magnum weapon skin.

Arena multiplayer brings back that close-quarters hard hitting team game that was so familiar in the first two Halo games.  The new Spartan abilities increase the speed of the Arena game, allowing more verticality to the sci-fi shooter. It doesn't feel gimmicky like Call of Duty: Advanced Warfare's vertical systems, and it is less weightless than Titanfall's, making Halo feel more grounded and bulky without sacrificing speed. The sprint ability may not seem very Halo, but the shield recharged restriction while making a run for it curbs the power considerably.

Breakout is a new arena mode introduced in Halo 5 that flings Spartans into cool new maps for a One-Flag CTF, but that flag isn't easy to get. You start with SMGs and have half your shields, so good luck staying alive in the open. Breakout uses a round-based elimination system with a best-of-nine series because the rounds only last as long as the flag is captured, all four players are killed or a total of two minutes. I've never seen a round clocked out. It's fast and fun. A welcomed new mode.

But Was It Fun?

Yeah, Halo 5: Guardians is fun. I have my issues with the story and sometimes Warzone can be a little complicated and hectic, but the game is worth the purchase. The campaign is quick, but it plays well for those who aren't huge into the lore. If you haven't played a Halo game  and you have an Xbox One, no excuses. Pick up The Master Chief Collection and knock out the first  four (and don't forget ODST!). You can really see how far these games have come. I wish there was more Master Chief and Blue Team, but it was interesting to play as a new character for a little time. Locke isn't such a bad guy after all, and I hope he can return in the future. However, I don't want him around at the expense of Master Chief. If I continue to get less Chief because of Locke, toss him out the air lock because the light is not green, Spartan.

Play Halo 5: Guardians for a fun, but convoluted campaign and a refreshing multiplayer.

October 25 - Horror Feature: Dawn of the Dead (1978)

George A. Romero may have gotten his start in the zombie subgenre with Night of the Living Dead, but he carved his legacy with Dawn of the Dead. The writer/director continued his thematic and morally-conscious series of living dead films with an eye on American commercialism and excessive violence. Dawn does not directly connect to Night with characters or settings, but the dead still rise and in a much larger scale. Dawn of the Dead took more time to analyze the way the living dead represent humans in a primal and stripped-away fashion. The seemingly mindless zombies shuffle and shamble their way to the mall because their basic instincts are taking over. They only know that it is a place they want to be in their otherwise two-dimensional lives. The surviving humans in most cases show the greed and lack of empathy for others that people experience in a pressure situation where its all about themselves. When given an opportunity to blow something's brain out, they lunge at it. Most of this example is present during the beginning with the police raid on the apartment. Other hunting parties make a game of a very serious crisis that shouldn't be taken lightly, but they don't understand because nothing bad has happened to them yet.

Dawn of the Dead was graced by newcomer special effects and make-up creator Tom Savini who went on to work on films like Friday the 13th, The Burning, Day of the Dead and others. Dawn holds some of the most iconic kills and character make-up in his career such as the infamous headshot, some of the more lengthy screen-time zombies and the machete kill, not to mention the countless feeding scenes like the one in the apartment basement. Savini's time during the Vietnam War inspired his work and influenced much of his approach to the effects. Not everything looked super realistic, but, as it has been said to me before, it increased the gross-factor.

It is nice to see a Romero film with heavy gore receive critical acclaim and high box office numbers. Dawn of the Dead has been considered by many to be the greatest horror film of its time. I'd only argue in favour of Halloween in that case, but they are not necessarily comparable given their differing subject matter and themes.

When there's no more room in Hell, the dead will walk the Earth. So, before that happens, check out Romero's 1978 classic Dawn of the Dead!

Thoughts on the Paranormal Activity Franchise and a Review of the Final Film

I'm a big fan of paranormal and supernatural horror films, even if they're of a poor quality (just not too poor). Demonic possession, hauntings, poltergeists, ghosts, whatever. I'm usually in. I even endured a few seasons of the A&E show Paranormal State despite knowing many of the cases were falsified and the personalities were a bunch of fakes. So, when Paranormal Activity came around in 2009, I couldn't get enough of it. There are so many things that movie got right, from writing all the way down to marketing. I didn't know about its release until it carried through word-of-mouth, which is a really fun way to discover things in the age of the internet and constant information. The film was made independently, but when Paramount picked it up audiences had to "Demand It" in order to see it in their local theatres. It hyped up the movie and gained help from ad campaigns displaying frightened audiences in night-vision reaction videos. It was a genuinely exciting and scary movie and reintroduced the found-footage fad. Now people are tired of the gimmick and often groan through the screenings.

Paranormal Activity was great because you didn't know what was out there. You couldn't see anything, and when you did it was a strange image or trace of the entity that haunted Katie and Micah in their home. Many things were left to the imagination and it never held your hand. The second film opened up the wider story, allows viewers to get a glimpse into the family's connection to the entity, all while furthering the plot. The third took us back to the 80s to explain why the family was impacted by the demonic presence. The fourth (no, it wasn't very good either, but still) focuses on the neighbours of a new family across the street who are possessed by the demonic entity. The fifth, however a spinoff, is an interesting take on the demon and its abilities while keeping the story fresh and new. But off the deep end we go.

The sixth and final film in the franchise, Paranormal Activity: The Ghost Dimension, is bad. I said it. Many have said it about the other movies, and yes they are not cinematic marvels but at least they maintain the rules established in the first couple entries. With each new instalment, a new camera gimmick was added to the mix to keep things new. The Ghost Dimension's way of improving the experience tore away at the very core of the franchise. The tagline reads: "For the first time you will see the activity." That is exactly what I do not want to see. Darkness, loud sounds and possession are what I want, not amateurish Adobe After Effects CGI tricks that look better on a kid's YouTube video than in weak 3D at the theatre. Seeing a large cheaply produced shadowy figure isn't scary and you can't survive on repetitive jump scares brought on by a black entity shooting across the screen. The only redeeming quality in the film is the link to Katie and Kristi from the third movie, and even still, where are the older versions? Where is Hunter? I get that they want to show new and unsuspecting characters watch as crazy demon worshippers open bloody time portals in their kid's wall, but it just doesn't cut it. There is no soul left in this franchise, if there was one to begin with. At least the original films didn't resort on spooky 3D spots, bubbles and waves in the air.

Paranormal Activity: The Ghost Dimension folds on the franchise like a cheap suit or a really dumb tent in a kid's bedroom. It relates to the rest of the movies in the same way V/H/S: Viral did to the previous two films in that series. For those who don't know, the third in that franchise veered so far off course from the theme and intentions of the originals that it resembled them in name only. There have been some independent films made since 2009 that used relatively weak but suitable effects like REC, The Devil Inside (I had such high hopes for that one), The Tunnel and many more, but I have come to expect more from Paranormal Activity. It still blows my mind that a film as good as Paranormal Activity could have a $15,000 budget and one as bad as Paranormal Activity: The Ghost Dimension a whopping $10 million.

Some may say they aren't surprised Paranormal Activity has ended in a bad note, but I am disappointed. I enjoyed the previous films, the fourth notwithstanding, and I wish Oren Peli had stuck to the original formula rather than farming it out Paramount's executives and its many writers and directors. But such is the life of horror film franchises.

A Review of, and Thoughts on, "Lock In" by John Scalzi

Have you ever found an author you enjoy for reasons besides their traditionally published works? Maybe you heard them speak or they have written non-fiction pieces on topics with which you are familiar. Maybe they're funny on Twitter or they represent a particular political or social position that you associate with in your own way. Maybe all of the above. But, of course, it helps that they're an excellent writer to boot, right?

John Scalzi fits this criteria for my reading interests, as well as my personal opinions on topics of social and political relevance. I feel lucky, because I get a lot of good reading out of it. So maybe I read his work with the awareness of his voice and general perspective on the subject matter that he sometimes touches on in his writing. I don't mean to say that I know the guy in any personal way, but in an age of increased exposure to the lives of others that wish to share it, it is hard not to gather even a slight understanding of how someone operates. Scalzi isn't shy, in fact he is quite the opposite. I like that. When the time calls for it, he expresses the necessary no-nonsense stance mixed with the all-important sarcastic humour that I have been drawn to all my life. So, yeah, I have developed somewhat of an awareness. Some would suggest that I enter this article with a bias towards his work. That is understandable because I genuinely like him as an author and a voice for his outward beliefs. However, I would argue that rather than being slanted to promote his work, I suggest that you, too, read his blog, Twitter and other works because it makes his novels that much more enjoyable. You feel like you are a part of something. An inside joke, a secret reference, or perhaps something akin to friendship. You're on the inside. Of course, not everyone agrees with Scalzi, so maybe you won't see eye to eye. Nevertheless, I urge you to pick up one of his books, be it Old Man's War, Android's Dream, (the Hugo Award winning) Redshirts, Lock In or anything else. If you have any interest in science fiction, I'm sure there is something to peak your interest. Even if you're new, there are jumping-on points.

But right now, I would like to move focus to John Scalzi's 2014 book Lock In. It's been over a year since its release, so I'm really revisiting the topic. Scalzi is most famous for the Old Man's War series, which is military science fiction in a future where Humanity has expanded far beyond the reaches of Earth. Many associate Scalzi with this sub-genre, making Lock In a departure from the norm. Lock In is a near-future crime novel, but does not stray from science fiction. In fact, I would hesitate to dismiss the level of science involved in the world created by Scalzi as it relies heavily on the existence of advanced computer technology to the point of merging organic and synthetic brains for the purpose of putting a person's mind in a mechanical body or the body of another human. In addition, Scalzi has employed his knowledge of computer technology and the business of such a field to engulf the reader in a believably realistic future Earth that has become dependent on this market.

To familiarize you a bit, a powerful influenza spread across Earth, developing into a second stage of meningitis, and a third stage of complete paralysis of the nervous system. Not all victims suffered the three stages, 400 million people died and those who survived either maintained control of their body or suffered "lock in" for the remainder of their lives. The disease, later known as Haden's syndrome in the name of Margaret Haden the former First Lady of the United States of America, infected 2.75 billion people. The "Hadens" locked in their own bodies were able to have a computer put into their brains that allowed them to experience the physical world through a mechanical body affectionately known as a "threep" in reference to C-3PO, as well as a virtual space known as the Agora exclusive to those affected. The people that contracted Hadens and were not locked in also suffered changes to their brains, which allowed them to interface with locked in Hadens. They are known as Integrators and they can act as a human body for the locked in to transfer their minds in order to experience the formerly traditional human life.

I am afraid to go into much more detail for fear of butchering the precise details so carefully doled out by Scalzi throughout the novel. The world is laid out very precisely for the reader and certain pieces of information are timed with relevance to the plot. This is something Scalzi does quite well in his more mysterious novels such The Human Division and the one in question. I do not wish to spoil the story because it is one of the most interesting mysteries I have ever read. The intricacies of the world make it feel alive and experiencing their reveal alongside the narrative is a rewarding feeling. I cannot say that there are any instances where a plot point did not pay off.

I would like to make a few comment on the main characters in Lock In because their introduction and growth is somewhat of a test of the reader's perspective and imagination. Agent Chris Shane, who shares their first-person narrative throughout the novel is entirely gender ambiguous. From beginning to end you cannot possibly identify Shane's gender, and simply put, it does not matter in the slightest. It is clear that Scalzi's intentions were to maintain a gender neutral central character and using a first-person narrative was the best possible route to take in achieving this atmosphere. A typical person does not refer to themselves as he or she in first person, or at least I don't. It also helps that Shane uses a neutral threep throughout the story, preventing any gender identification or the need to make a point of their appearance. It is interesting to speak to people who have read the book to see if they assigned a gender to Shane or maintained the ambiguity. I have heard the argument that Shane must be a man because he came to the defence of a woman being harassed by a group of men, but I don't think it matters what gender you are when making the decision to help someone in need. Knowing Scalzi's general opinion of diversity in science fiction in both text and industry, I think it would be imperative to note that the narrow-minded traditional gender roles can be tossed out the window. See what I mean about the benefits of knowing an author beyond their immediate publications? This can also stand to the point that Chris Shane's ethnicity is not made a topic until their father's is identified later in the book. Yes, he is African American, but it is not lingered on nor made a point of because it just doesn't matter. These things are a part of the world we live in, so why not in a near-future science fiction narrative?

I think the opening chapters establish this sense of unknown identify and appearance through Chris Shane's threep. We do not know Shane's gender, race or sexual orientation, but we assume that this person in a realistic future is a human being. However, when more information is piecemealed our way we understand that something is different about Shane in the way of physical presence. Rigid facial features, strange looks from passerbys, physical make-up, inability to eat or drink. Without having to be stated outright to make it initially clear, we can figure out that Chris Shane's public appearance is that of an android, robot or mechanical body-vehicle, which have you. This development paves the way for other characters to be introduced and subsequently neutral in their human existence. They don't need their physical or mental traits to define them aside from their unique personalities. This is intentional and it is executed with precision. At least, that's what I took from it.

John Scalzi's time before becoming a published author was spent with computers, business, finance and notably AOL. His knowledge of the relevant industry has played well in growing a believable future and computer technology field with realistic development. As a result, he combined the Haden's syndrome world with layers of technological-relevant mystery to deliver a sound narrative. There are no instances where Scalzi loses control of his story, nor does he have to backtrack or make leaps in logic in order to meet his plot goals. On top of all that, in regular Scalzi fashion, Lock In is just a breeze to read.

I hope you take the time to check out Lock In as well as any other works by John Scalzi. If you're not into paying for something like that on blind faith, take the inexpensive route by reading his blog, Whatever, and Twitter page. Maybe that will change your mind. Or it won't. I think it's safe to say that he's not short on readers. Just keep in mind, he's no stranger to the internet. If you have an opinion of him and you wish to make a comment on it, he knows how to field it. Please don't contribute to the internet's already overflowing bin of obnoxious individuals.

I appreciate your time. Take care.

Star Wars: The Force Awakens Trailer and Ticket News

Star Wars: The Force Awakens is two months away to the day and to mark the occasion Lucasfilm and Disney have debuted a brand new poster along with four teasers for the upcoming trailer.  The final set of footage will be featured during halftime on ESPN's Monday Night Football (and TSN in Canada). Immediately following the trailer's airing tickets will go on sale worldwide, so jump on yours quick. I know I will be gearing up for the first possible IMAX 3D screening near me.

So about that poster. It's got some new faces, some old faces, some promotional character art, oh and a BRAND NEW DEATH STAR. Perhaps this is Starkiller Base? It would be difficult to understand how it could snow on a superstructure, but hey this is Star Wars. Suspend your disbelief for a moment. We also see Leia and her new hair. It's loud. I expected nothing less. Finn is carrying the lightsaber seen in the brief teaser from the summer that appears to be Luke Skywalker's former weapon. It interests me to note that all of the notably good characters face the right, except for Rey who is looking left like Kylo Ren does in the top left corner (but yeah, Poe Dameron is looking left too). But I'm probably reading too far into that. It's just a poster, right? Right?

The poster continues the pattern of mystery and secrecy surrounding Luke Skywalker's whereabouts, appearance and allegiance. We have yet to see Mark Hamill's senior Luke in any promotional footage be it in-film or B-Roll, however there was that leaked photo of him in full Jedi robes. Maybe the final trailer will give us a glimpse into his life thirty years after the Battle of Endor. (I would like to note that many believe Luke appeared in the Star Wars Celebration teaser with R2-D2, but I remain skeptical because it would require his hand's technology to have reverted to a metal prosthetic as opposed to his original synthetic human hand).

Better yet, where is Max von Sydow in all of this? At least we know Luke Skywalker is in film and Andy Serkis is portraying a new character named Supreme Leader Snoke. Who is Sydow? We will find out soon enough.

Tune in to Monday Night Football on October 19th to catch the trailer during halftime, or wait to it to appear online right after. I'm sure it won't disappoint!

Star Wars: The Force Awakens is in theatres December 18, 2015.

October 17th - Horror Feature: The Texas Chain Saw Massacre (1974)

Here's another movie that spawned a series of sequels, remakes, reboots, prequels and whatever. Yes, it's been tainted by the touch of Michael Bay who thought it best to modernize classic horror films that really felt at home in their original decade. (Again, he did produce the Friday the 13th reboot, and there were gleams of quality within that frantic mess). Not that they're bad remakes, etc., but the first instalment is truly the best option. The Texas Chain Saw Massacre! No, not The Texas Chainsaw Massacre. Chain Saw. This is the 1974 classic film that brought us the "true story" adaptation of the Ed Gein murders. For one, Ed Gein killed in Wisconsin, and he didn't really use a chainsaw. He did skin his victims and mutilate them, making various garments from their pelts. Leatherface replaced Ed Gein in this film, and his portrayal is an overly exaggerated version of the real person. All of the real-life crimes and horror are too much, but the film's absurdity helps the viewer understand that this is a fictional story at its heart. The film made a point of informing its audience that the cinematic depiction was based on a true story simply because that made it more frightening. It didn't matter how much it deviated from Ed Gein's actions. It really grabs a hold of those thoughts in the back of your head after viewing a horror film; is there someone out there who could do this to me right now? I have a habit of checking the back seat of my car after watching these movies. No, I'm not scared.

Shut up.

So a couple siblings and their friends are on a road trip to their grandfather's grave and family home in rural Texas. They pick up a hitchhiker, and that goes south pretty quick. You guessed it, he's crazy. And it won't be the last time we see him. They stop for gas and "barbecue" (yeah, wait for that realization), but not everything seems quite right (uh huh, "barbecue"). After arriving at the homestead, a few friends go off for a walk and stumble onto a neighbour's property where they encounter Leatherface in the house, and their meeting is short-lived to say the least. The remaining friends decide it best to look for their missing companions, and they drop off in succession. The film isn't long, which ramps up the pace quickly. You'd think they'd take it easy on the brother in the wheelchair, but he gets wrecked worse than most of the others (it's also the only chainsaw kill) but we later confirm in Friday the 13th Part 2 that even a paraplegic is game. The final act of the film veers from the standard slasher formula as we sit down to a meal with Leatherface and his family, including the stale-looking Grandfather. Yeah, he's alive. Somehow. The lengthy scene is excruciatingly uncomfortable and the content can be quite disturbing. It's great fun.

If you're looking for Leatherface's fit of frustration swinging the chainsaw over his head in the middle of the road you'll have to wait until the very end. It's worth the viewing experience, I assure you. Gunnar Hansen's portrayal of the main antagonist is fascinating, as he often received very little direction from Tobe Hooper and he developed the killer's odd characteristics himself. He is so awkward and uncoordinated that it's a wonder Leatherface is such a prolific butcher. But it makes him that much scarier. Many have tried to duplicate his portrayal of Leatherface, but Hansen is the true original (except for maybe Ed Gein?).

I'd like to give Marilyn Burns a nod for her part as Sally. Her top-billing should inform you that she winds up as the final girl. Now, I've made it very clear that Jamie Lee Curtis is the end-all-be-all Scream Queen, but Burns really nails the role in this one. It seems so natural and frantic, which I think is understandable given that Hansen's Leatherface is so terrifying. Imagine being chased through the dark woods by a giant killer nutjob with a chainsaw who skins people and eats what's left. Even if you get to see him between takes, it would feel all too real when the cameras are rolling. He isn't exactly a slow mover either. He really hoofs it when he has to, and jukes around with spastic flailing.

The Texas Chain Saw Massacre (1974) is a must watch, even if you've seen and disliked the other entries in the franchise.