Revisiting the X-Files, Part 1: The First Step Into the Shadows

So, we’re dealing with an iconic 1990s TV series here, in the pilot episode of which (Pilot) we have a young woman showing up dead on the outskirts of a small woodland town in the Pacific Northwest of the US. Thanks to parallels with a number of deaths elsewhere, the FBI become involved, represented in part by a handsome agent who reveals slightly eccentric habits and even more eccentric beliefs. The death turns out to be part of a web of local intrigue that belies the bucolic charm of the town, and there’s frequent hints than higher powers are involved in all this.

This is not, despite all of the above, Twin Peaks; instead we’re dealing with the start of The X-Files, lovingly crafted by Chris Carter, though he’s letting his Peaks fan flag fly here. The first episode sets the formula for most of the series’ “mythology” episodes: Mulder and Scully zoot about uncovering evidence of creepy alien activity, Mulder buys into the supernatural interpretation of events, Scully resists it but increasingly finds herself coming around to Mulder’s point of view step by baby step, they discover some incontrovertible evidence that something outright fuckabooie is going on but the sinister government conspiracy as represented by the Cigarette Smoking Man (William B. Davis) manages to destroy the evidence yet again.

That’s a formula we’ll see repeated over and over during the run of the series, with incremental bits of additional motifs and recurring thingamuffins creeping in here and there to give the impression that we’re getting somewhere, but a quarter-century later and we all know goddamn well that it isn’t really going anywhere impressive – and with Gillian Anderson comprehensively fed up of the whole thing and no longer willing to come back after the mytharc episodes in 2018’s season 11 bombed, it looks like short of a full reboot we’ve had all the X-Files we’re ever going to get. (Conveniently, nice blu-ray sets of the TV episodes are widely available at a reasonable price, and the HD-remastered episodes are available on iTunes and other platforms at that.)

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It’s Grim and Dark For Kids Too

12-year-old Zelia Lor is the daughter of starfaring archaeologist Elise Lor. When the Terminator-esque Necrons attack a world that the Lor family are conducting excavations on, Zelia must hustle to escape. Zelia is separated from Elise in the evacuation, but ends up forming a small posse of survivors along with two kids about her age – Talen is a rough boy who fell in with the underhive gangs when he ran away from home to avoid being pressganged into the Imperial Guard, whilst Mekki is a young acolyte of the Adeptus Mechanicus who Elise has been caring for. Escaping the planet in the company of Erasmus, assistant scholar to Elise, they soon encounter Fleapit – a Jokaero, a member of an orangutan-like race of hyper-intelligent gadgeteer apes, who only Mekki can properly understand. However, there’s still a Necron Hunter on their trail. Are they just having really shitty luck, or is there a reason the Necron is so intent on catching up with them?

Attack of the Necron is the first book in the Warped Galaxies series of Warhammer 40,000 novels. On top of that, Warped Galaxies is the first series of 40K-related books to come out under the banner of Warhammer Adventures – a new category of Black Library books consisting of stories aimed at kids. The general reading level is 8-11ish – so we’re not talking YA, more the sort of reading level of the first couple of Harry Potter books.

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GOGathon: Third Time’s the Charm… Or Seven Years’ Bad Luck?

Fans of the Black Mirror series of point-and-click adventures (not to be confused with Charlie Brooker’s “Oh no, technology!“-themed Twilight Zone knockoff) had to settle in for a long wait between the first two episodes of the series; the original The Black Mirror was released by Czech developers Future Games in 2003, but it wouldn’t be until 2009 that German outfit Cranberry Production served up Black Mirror II. Fans did not have long to wait after that for Black Mirror III, however, with the final game in the original trilogy coming out in 2011, also through Cranberry.

The signs that we should expect another sequel were right there: the previous game ended on a bit of a rushed cliffhanger. The action here picks up in the immediate aftermath of that. Darren is the prime suspect in the grim events that concluded the last game, and the police have little patience for his story; however, they don’t quite have the evidence they’d need to bring him to trial. After three weeks cooling his heels in a cell in the local police station, Darren has his bail paid by a mysterious benefactor. He’s warned not to leave the Willow Creek area, and he’s feeling the occult consequences of the end of the previous game; if he’s to rid himself both of his legal troubles and the Gordon curse once and for all, he needs to resume his investigations of the area.

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GOGathon: A Second Reflection

It’s the mid-1990s – 12 years after the nightmarish events surrounding Samuel Gordon’s return to Black Mirror Castle shocked the world. Across the Atlantic, Darren Michaels is spending his break from college visiting his mother, who has recently moved to the sleepy seaside town of Biddeford in Maine. Darren earning a bit of extra money by working in the town’s photography shop, run by the boorish Fuller; in the course of this Darren meets and feels an instant attraction to Angelina, a charming British tourist who seems to reciprocate this attraction.

Before Darren can get time off to get to know Angelina better, however, he has a range of errands to perform – and in the course of this, he becomes aware that there’s a shifty individual apparently stalking Angelina. Or is Darren himself the target of this snooping figure’s attention? Darren’s worries only become more acute when his mother suffers a fall at home which leaves her in a coma… a fall in suspicious enough circumstances to make Darren think she was pushed. Resolving to investigate, Darren uncovers evidence of a wider conspiracy – a conspiracy that’s somehow connected to the English village of Willow Creek, from which his mother’s been receiving mysterious payments.

How was his mother involved in all this? Who in Willow Creek has been paying her? And what does this have to do with Willow Creek’s main claim to fame… the mysterious Black Mirror Castle, and its former resident Samuel Gordon?

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Dead of Winter? Dead On Arrival

Struggling actress Katie McGovern (Mary Steenburgen) is hired by retired psychiatrist/polar bear hunter Dr. Lewis (Jan Rubeš) to replace Julia Rose (also played by Steenburgen) – the lead actress on an independent film that the wealthy doctor is somehow connected to (presumably as a financial backer). Katie is told that Rose stormed off the set, leaving the production high and dry and desperately in need of someone who resembles her closely enough to finish off her scenes – but before she heads up to the main set in Canada, she has to visit Lewis’ snowbound estate in upstate New York to film some preliminary scenes.

Of course, as the audience we know a little bit more than Katie; most importantly, we saw the prologue sequence in which Rose, travelling incognito, seems to be involved in some sort of shady deal involving the transfer of a large sum of cash, only to be murdered. As it turns out, Dr. Lewis is playing a very long and curious game with the powerful Evelyn Rose, Julie’s sister (also played by Steenburgen), and has brought Katie into the conflict as a pawn in order to trick Evelyn into thinking Julie is still alive. This leaves Katie in danger both from Evelyn and the forces that killed off Julie in the first place, and Dr. Lewis himself, who sees her only as a tool to be used for this specific purpose and then… well, who knows?

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Bido’s No Bava

Giallo is an Italian genre of cinema which can best be described as an arthouse precursor to the good old-fashioned slasher movie, combining a reverence for Agatha Christie and Alfred Hitchcock with brazenly violent and sexual content. To a large extent The Bloodstained Shadow has Antonio Bido working as an acolyte of Dario Argento’s school of giallo, as perfected on Argento’s run from The Bird With the Crystal Plumage to Deep Red. Combine the classic hooded-and-black-gloved killer that’s been a motif of giallo ever since Mario Bava’s genre-defining Blood and Black Lace, a string of murders beginning with the slaying of a medium, a killer motivated by the suppression of information about a long-forgotten crime, a painting that proves to be a crucial clue, a prog rock synthesiser soundtrack, a fakeout ending where the protagonists think they’ve caught the killer when in fact at most they’ve only dispatched an accomplice, a decades-old killing shown at the very beginning which turns out to be the catalyst for all the action, a creepy toy motif, and a recurring emphasis on the artistic, the aesthetic, and the erotic, and you end up with a film in peril of turning into Argento-by-numbers.

Bido almost saves himself; certainly, as far as Argento imitators go he pulls off a really masterful job, producing a piece which for the most part could sneak its way into the grandmaster’s own canon through the back door had it a mind to – were it not for a bungled conclusion that makes the whole thing unravel.

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Burning Tensions and High Stakes In the Civil War

Released in the States as The Conqueror Worm for the sake of implying a connection to the successful run of Poe adaptations that Roger Corman had helmed and Vincent Price had starred in, Witchfinder General only shares Vincent Price in common with those movies. It was directed by Michael Reeves, an up and coming talent whose career was cut short when he died shortly after making this of an accidental overdose, and produced for Tigon, a production company making a bid to outdo Hammer by offering up films with similar subject matter fronted by horror icons and often featuring content more extreme – and more imaginative – than Hammer themselves were willing to offer at the time. (The production was also co-funded by AIP, home of the Poe adaptations – hence the retitling, hence the involvement of Price.)

The story takes place during the English Civil War (the famous mid-17th Century one, not the earlier one with Stephen and Matilda). Richard is a soldier in Oliver Cromwell’s New Model Army, fighting the Royalist forces whilst hoping to make a future for himself and his fiancee Sara once the war is done. Their happy plans, however, are disrupted when their sleepy home village is visited by Witchfinder General Matthew Hopkins (Vincent Price) whilst Richard is away on duty. Hopkins, accompanied by his disreputable assistant John Stearne (Robert Russell), roams around the country exploiting the disorder and panic caused by the war, showing up in towns and villages which have written to them asking for their help and presiding over witch trials that make those in Salem look like a model of balanced and fair jurisprudence.

They are well paid for this work, and they relish the opportunity to torture their suspects to their hearts’ content (though Stearne is much more honest with himself and others about how much he enjoys this part of his work than Hopkins, who maintains a holier-than-thou facade. They’ve been summoned to the village to interrogate the local priest – Sara’s uncle – and Hopkins wastes little time in extorting sexual favours out of Sara in return for stopping the torture. Eventually, Stearne ends up raping Sara, Hopkins loses interest in her, and her uncle and two local women are eventually strung up for witchcraft. When he returns and discovers what has happened, Richard embarks on a campaign of revenge that he’s determined will put an end to Hopkins’ reign of terror – but what will he end up losing before the job is done?

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