‘Hellboy: The Crooked Man’ Has Its Heart in the Right Place, but It Is Ultimately Limited by Its Budget

 

I went into ‘Hellboy: The Crooked Man’ with low expectations and an open mind, knowing that with its small project status, zero marketing, and direct to VOD release (with a few limited theatrical releases in some countries), it’d be unfair to judge it on how well it compares to the Guillermo del Toro films. Considering the elephant in the room that is the film’s significantly low budget of $20 million, which is less than one third of what the 2004 Hellboy film had to work with 20 years ago, and less than the reported cost of one episode of the recent ‘She-Hulk’ show, the main thing I’d say about 'The Crooked Man' is that it tries its best to deliver a love letter to the comics with whatever resources it got.

This is a project that Hellboy creator Mike Mignola is directly involved with, both as part of the executive producers team and as a co-writer of the script, and consequently, the movie in many ways does carry the spirit of the books as he gets his chance to bring the character to the screen the way he wanted. The film’s tone is significantly different to all previous Hellboy movies, making a complete turn towards the indie horror genre, with a hint of b-movie on the side, which admittedly is something that mostly works in its favour. Based on the 2008 ‘The Crooked Man’ comics with a story taking place during the 50s, the film is an overall faithful adaptation, with a few additions surrounding Hellboy’s origins and the newly-introduced Bureau for Paranormal Research and Defense special agent, Bobbie Jo Song.

It’d be a lie to say that the very limited budget of ‘The Crooked Man’ doesn’t become obvious very soon, mostly when it comes to the special effects. From dimly lit scenes, to showing things from a certain angle, to things happening off camera, the film tries every trick in the book to find a workaround to its budgetary restrictions, and in all fairness, it actually succeeds more often than it fails. That said, there are moments, especially during daylight scenes, that the fact that you are watching a man wearing a red skinsuit and a gigantic prop hand becomes a little too hard to ignore.

At the same time, Jack Kesy delivers a solid performance in the lead role. His Hellboy is rather different to Ron Perlman’s charismatic and snarky version, but with his dry wit, brooding and no-nonsense personality, and his softer side also coming through the cracks, this does feel like a comic book accurate depiction of the character. I just wish the film took more chances to showcase Hellboy’s vulnerability and distinctive sense of humour as well.

All in all, ‘Hellboy: The Crooked Man’ is a pretty OK film and makes an enjoyable watch, especially if you hold any love for the comics or the indie horror genre. It has some legit fun moments, it’s a self-contained story without attempting to do any more than that, and it’s clearly a project that tries to honour its source material as best as it can. Sometimes it gets a little cheesy, not all characters get their chance to shine, but it manages to tell a Hellboy story in a way that feels reminiscent of the books. I might be off here, but I feel that people coming from the comics might have an easier time digesting this film, compared to those who solely know the character through GDT’s adaptations.

I won't claim that 'Hellboy: The Crooked Man' is a flawless film, but between a blockbuster that looks down upon its source material and attempts to reinvent it coming from that angle, and a small project that genuinely, if sloppily and imperfectly, tries to pay homage to the comics it is based on, I'll personably always pick the latter.

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‘Terminator Zero’ Is One of the Best Installments in the Franchise

‘Terminator Zero’ has certainly been a pleasant surprise. Created and produced by Mattson Tomlin, co-writer of 2022’s ‘The Batman’, and directed by Masashi Kudô, it works perfectly as a standalone, self-contained story in the Terminator universe that doesn’t revolve around the Connors, and doesn’t even require much knowledge of the lore to be enjoyed.

 

The show consists of only 8 episodes that are 25-ish minutes each, so it can be pretty much binge-watched as a film. It introduces a brand new story and characters, taking place in Japan, switching back and forth from the present time of 1997, a day before Judgment Day happens, and 2022. It’s action-packed and gory and fun, while it also takes the franchise to interesting new places. The story explores philosophical themes and raises compelling questions, dabbling in existentialism and at times even in spirituality, in ways not seen in previous installments.

 

The animation is also gorgeous, the characters are diverse and unique, the way time travel is explored is pretty much what someone would expect from a Terminator story. Another big plus is that, while the show is brutally violent and features several instances of nudity, it never feels cheaply exploitative or sadistic. It is well-worth a watch, it’s one of the best installments in the franchise, possibly the best thing to come out since T2.

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32 Years of 'Batman: The Animated Series'

Today marks the 32nd anniversary of 'Batman: The Animated Series', a show that has definitely earned its timeless classic status since its premiere back in 1992. The series didn't just define the way a whole generation viewed the Dark Knight, but also significantly contributed in proving that animation as an art form can without question be a serious storytelling medium, with nothing to envy from live action. In fact, a lot of the live action comic book adaptations that came after it lacked the depth and character development that were so characteristic of the series.

With its distinctive Art Deco and Noir animation style and taking clear inspirations from the Burton films, BTAS broke away from the campiness of Adam West's Batman, but also introduced new layers and depth to Bruce Wayne that went beyond the comic book adaptations of the character that existed until then. The show's amazing writing, combined with Kevin Conroy's incomparable performance, gave the character his heart, and helped Batman break out of the monotone, brooding stereotype, showing us a multilayered human version of the Dark Knight that made him more than a vigilante out for vengeance.

With Mark Hamill's chilling performance as the Joker, and with the numerous complex and dark plots that redefined characters like Mr. Freeze, gave villains motivations based on tragedy, unfairness, and situations that were more grey than the usual black-and-white  definition of evil one would expect from a Saturday morning cartoon, and introduced the now super-popular Harley Quinn, the show never shied away from pushing boundaries and exploring adult themes in a way that respected its children audience, treating them as intelligent viewers who would be able to appreciate such storylines. It's no surprise that BTAS has stood the test of time so well and has defined the legacy of Bruce Timm, Paul Dini, and the numerous creative people that helped shape it, and 3 decades later it is still an intriguing watch, even for grown adults.

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Recent Watch: Sweet Bean (2015)

Tonight's spontaneous watch was Naomi Kawase's 'Sweet Bean'. It's a bittersweet story about kindness and human connection, but also about abandonment and how prejudice stigmatises and isolates people. Mainly though, it's a gentle story about three people, each dealing with their own loneliness and baggage, whose lives at some point interconnect, and the way they manage to find meaning in the simple things and leave a lasting impact on each other. Really beautiful film.

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‘Batman: Caped Crusader’ Carries the Spirit of ‘Batman the Animated Series’, but Doesn’t Quite Capture Its Heart.

I was really looking forward to this show, and after finishing watching all 10 episodes of the first season, it has ended up being a bit of an interesting mixed bag for me. I really wish the promos and the marketing had done a better job at communicating that ‘Caped Crusader’ is a complete reimagining of most characters, apart from Batman, instead of focusing on the character of Penguin alone, because that would certainly help someone knowing what to expect going in. The show is not so much the spiritual successor of ‘Batman TAS’ but more of a completely new thing, taking place in a 1940s noir Gotham city, with most characters being given completely different backgrounds, origins, and motivations. And honestly, ‘Caped Crusader’ works better if you approach it not expecting to see the same characters as you know them from most of their comic book iterations.

The show definitely has more than a few positive elements: more diversity, characters being openly queer, Barbara and Jim Gordon being Black. Plus, it's a pleasant surprise to see diverse body shapes, especially among female characters in a Bruce Timm production. It was also nice seeing Renee Montoya and Barbara Gordon take so much center stage, even if Barbara isn’t Batgirl (yet?) in this version, and she is now a lawyer, she is still given a lot to do. Giving these two characters the spotlight is certainly one of the highlights of the show.

One has to respect that ‘Caped Crusader’ is very much doing its own thing, and taking a bold approach in reimagining some of the core elements of the Batman mythos. The show exists in its own 40s noir continuity, and makes a clear effort to reinvent most villains in a way that fits that narrative, with some legitimately interesting takes on the characters. Clayface and Harley Quinn specifically have some significant changes to them and their backgrounds. For Harley in particular, it’s interesting seeing her existing in this universe independently of the Joker, being motivated by something else completely. At the same time, not all changes work so well. This version of Selina Kyle, for example, which goes for the spoiled rich girl angle, is probably the most unlikeable depiction of the character I have ever seen. She mistreats her maid (and keeps her unpaid while she spoils herself and her cats), she lacks any sort of sympathetic personality traits, and she steals someone’s cat for no reason then abandons it on a rooftop to run from Batman. Generally, even her fondness of cats overall seems shallow and weird, rather than genuinely affectionate.

The show also pretty much goes for a version of the Batman who is in his early crime-fighting stages, and goes out of its way to highlight that he still has a lot of anger issues and he has not found his heart and his empathy just yet. Which is not a new approach, but the more human and vulnerable version of Bruce/Batman that Kevin Conroy so excellently portrayed is undeniably a more layered and intriguing depiction of the character. There’s only so much a story can do with a monotone, brooding Batman. Hamish Linklater and the rest of the cast all deliver some great performances as their respective characters, but not every character feels as deep and nuanced as the ones in the original Batman TAS. It’s the reason why both Barbara Gordon and Renee Montoya shine in the show, because they are the characters acting as the heart of the story against a one-sided, often unempathetic Bruce.

Perhaps my biggest gripe with the show is the way it changes Bruce’s relationship with Alfred, in order to highlight his coldness and how closed up he still is. I just cannot get behind a Bruce Wayne who calls Alfred “Pennyworth” instead of using his first name, in the same way a superior officer would address a subordinate, and is mostly impersonal and even abrasive towards him, no matter what plot point this eventually serves. It just taints the very specific fatherly bond between the two characters, removing something that should have been there from the start. The relationship between Bruce and Alfred works better when Alfred is established as the catalyst who has helped Bruce keep hold of his human, kind side because he was the one being there for him during the worst events of his life. Any other dynamic just doesn't have the same impact.

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The Hateful Attacks Against Imane Khelif and Lin Yu-Ting Are Yet More Proof That Transphobia Harms All Women

Imane Khelif is a cis woman, she has experienced (as of now) 9 losses against other women in her career, including the 2020 Olympics where she lost against Irish participant Kellie Harrington. Yet, the usual transphobes are currently unleashing a vile attack against her, misgendering her, accusing her of being a man competing unfairly and having some sort of advantage against her fellow athletes, all because she doesn't fit their incredibly limited norm of how a woman should look.

Suddenly, people who never cared or know much about the sport are very interested in women's boxing, and found a scapegoat in her in order to spread their disinformation. Khelif is currently receiving more vitriol than convicted child rapist Steven van de Velde who was still allowed to compete.

This is basically yet another reminder that it was never about genuinely caring for the safety of women. Transphobia is dangerous for everyone, *including* us cis women, and that the links between TERF ideology and white supremacy are very real. Feminism isn't feminism if it's not intersectional.

Lin Yu-ting originally got into boxing wanting to protect her mother from domestic violence, which clearly shows that she has experienced domestic abuse first hand.

Imane Khelif grew up in poverty, she started boxing when she became good at dodging the physical attacks of boys in her village, traveled 10km to train, and had to work to pay for her own bus fare, as her father didn't approve of boxing for girls. An experience that a lot of girls who grew up having so-called "tomboy" interests are probably familiar with. I know I am. She has recently become a UNICEF ambassador, aiming to inspire girls everywhere to chase their dreams.

Not that the transphobia and clear racist undertones of attacking these two women, despite the fact that they are both cis, aren't horrible enough, but there's something particularly sinister and cruel in the fact that the people who decided to paint them as villains and keep circulating disinformation about both, claim to act in the name of ending violence against women and protecting women's rights.

 

Originally posted on Mastodon

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‘Deadpool & Wolverine’ Is Solid Fun

‘Deadpool & Wolverine’ is everything you’d expect from a Deadpool film, plus one bit superhero satire and one bit genuine love letter to all the Marvel comic book films that preceded the MCU and helped pave the way, even those projects that never actually came to be.

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Rest in peace, Peter B. Gillis

Peter B. Gillis was a truly underappreciated comic book writer who was behind some of the most unique and interesting stories including Marvel's What If…?, The New Defenders, Doctor Strange, and Strikeforce: Morituri. He had also co-created 'Shatter', along with Mike Saenz back in 1985, which was the first commercially published comic book to be entirely drawn on a computer.

Among his many noteworthy contributions is "What If...? #44 - What If Captain America Were Not Revived Until Today?", published in 1984, with art by Sal Buscema, Dave Simons, and George Roussos, and lettering by John Morelli. The story deals with an alternative history where Captain America remained frozen for longer, while the US slowly sunk into far-right regime reminiscent of Nazi Germany, with a clear racist sentiment on the rise, corrupt politicians that demonised and restricted the civil liberties of minorities, and with a fake Captain America supporting this status quo.

The comic book ends with the actual Captain America delivering this speech as a wake-up call on the dangers of extreme nationalism that is based on hate and the oppression of others, and the fragility of freedoms that have already been established, especially when hateful ideologies are allowed to fester. 

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The School of Rock Soundtrack Still Slaps, and It’s Finally Available to Stream

School of rock will forever and without shame be one of my all-time comfort films, and with a soundtrack that combines the original songs from the movie with songs by Stevie Nicks, The Who, Led Zeppelin, Cream, and The Doors you can't really go wrong.

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In ‘Dot and Bubble’ Doctor Who Tackles With the Dark Reality of Certain Groups and Online Circles

(spoilers ahead)

‘Dot and Bubble’ was definitely an episode that went way beyond what its trailer made it seem. It’s also an episode that is absolutely made by its ending and how it all wraps up. It starts in a very lighthearted tone, taking place on the suffocatingly pastel planet of Finetime, in a futuristic environment that has a little hint of Black Mirror. The protagonist, Lindy Pepper-Bean, waking up and much like a ton of people in real life starts scrolling through that world’s version of social media, an actual bubble that surrounds her head, to which she also seems dependent upon for her every action and decision.

And just as you think that this might be commentary on how addicted we all are to social media, and how influencer culture has some people act online, things start taking a slow turn. It’s subtle, at first, but the hints pointing at what is going on are present from the start. I guess it will depend on how familiar someone is with certain language, behaviours, and microaggressions, but it’s not hard to pick on the occasional odd thing that Lindy and her circle says, and the more the episode progresses the more things add up.

It’s pretty clear, with how Lindy immediately dismisses the Doctor, a Black man, when he first tries to talk to her in order to help her escape the monsters that are hunting everyone down, and the contrast with how she responds to Ruby, a blonde woman with blue eyes makes the oddness of that behaviour even more apparent. Especially when she acts so surprised, even appalled that Ruby is in the same room with him. Overall, the way the episode shows the early signs is very clever, and very reminiscent of how things work in real life when you meet a person with problematic views that starts showing hints of bigotry, and you feel that there is something off but can’t quite place it, or even start trying to find excuses to explain it, until the pieces of the puzzle start forming a big picture. Same way in the episode you feel Lindy is a bit spoiled, or obnoxious, maybe a bit insensitive and privileged, but you sooner or later realise that Lindy, and everyone else in her circle, is unapologetically racist.

There is a lot of hyperbole and exaggeration in the way allegory is utilised in the episode, and not everything sticks the landing, but the overall build up works, and offers a really solid social commentary on how white supremacist online circles mostly act as echo chambers that cultivate and amplify a specific mentality, completely detached from the facts of the real world. It’s also very clever to have that one member of the group who had started thinking outside of the box, exploring different perspectives, and acting more like a better person be the one to be back-stabbed and discarded. Ideologies that are based on discrimination treat their own who deviate, even the slightest, exactly this way.

I know mileage may vary, but for me the ending really worked. Sure, it’d be just as good, cathartic even, to see the Doctor give up on the people who were revealed to be just a hateful group who viewed his skin as something that made him inferior. But beyond this going against the character of the Doctor, it also served in presenting a very real truth about people who are deeply sinking into their hate and bigotry, which more or less applies to any sort of prejudiced thinking: If someone’s entire mentality and worldview is shaped around seeing you as lesser, you can be as smart, as kind towards them, as perfectly-behaved as possible, and their stance won’t change.

Sure, growth is possible, people do change. The character of Ricky September showed us a hint of that, but it almost never happens in an instant or overnight. In most cases you cannot debate a racist out of their racism with one clever comeback. No smart and eloquent argument and no appeal to logic or empathy can induce an instant epiphany for someone who spent years believing that some people are inferior to others, and had their entire social group confirming that notion to them. The Manifest Destiny-like quote spoken before those people turned out refusing the Doctor’s help, and most probably dooming themselves, is very characteristic of how much faith individuals with that mentality put on the false belief that they are simply better than others. 

Ncuti Gatwa’s performence, especially by the end was brilliant and heartbreaking, conveying all the emotion of someone who still wanted to help, despite those people very clearly being prejudiced against him, and trying and failing to get through to them. Which for the Doctor, a character who has as one of their biggest strengths their ability with words and communicating with people, feels particularly significant, and Gatwa was phenomenal in that scene.

Overall, it was an episode that both gets better the more you think about it, and also benefits from a rewatch, as knowing the reveal in the ending makes the hints and subtle pieces become more obvious, even to someone that might have missed them at first. The only downside is that in a way it is another Doctor-lite episode, not as much as ’73 Yards’, but we know scheduling conflicts were a factor, so hopefully the remaining episodes will give Ncuti Gatwa even more opportunities to shine as the Doctor.

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