time machine // database // travel guide
spacetime coordinates: 2020’s Tokyo
Snake Eyes: G.I. Joe Origins (also known simply as Snake Eyes) is a 2021 American superhero film directed by Robert Schwentke based on Hasbro‘s G.I. Joe franchise, the film serves as an origin story for the title character, created by Larry Hama, in addition to being a reboot of the G.I. Joe film series. (wiki)
spacetime coordinates: Warsaw, summer of 1944 / destruction of Warsaw
Warsaw 44 is a 2014 Polish war film, originally titled Miasto 44 (City 44). The film depicts the Warsaw Uprising in 1944 during the German occupation of Poland. (wiki)
spacetime coordinates: 2010’s Montana wilderness
Those Who Wish Me Dead is a 2021 American neo-Western action thriller film directed by Taylor Sheridan based on the novel of the same name by Michael Koryta
The film follows a boy (Finn Little) who witnesses the murder of his father and goes on the run with a smokejumper (Angelina Jolie) in the Montana wilderness to escape a pair of assassins (Nicholas Hoult and Aidan Gillen) hired to silence him; Jon Bernthal, Medina Senghore, and Jake Weber also star. (wiki)
spacetime coordinates: late 2010’s Oregon forests / Portland
Pig is a 2021 American drama film co-written and directed by Michael Sarnoski in his directorial debut. It stars Nicolas Cage, Alex Wolff, and Adam Arkin, and follows a truffle forager whose beloved truffle-finding pig goes missing. (wiki)
The Boys is an American superhero streaming television series developed by Eric Kripke for Amazon Prime Video. Based on the comic book of the same name by Garth Ennis and Darick Robertson, which was originally published by DC Comics under their Wildstorm imprint before moving to Dynamite Entertainment; it follows the eponymous team of vigilantes as they combat superpowered individuals who abuse their abilities.
The series stars an ensemble cast that includes Karl Urban, Jack Quaid, Laz Alonso, Tomer Capon and Karen Fukuhara as the titular vigilantes, and Antony Starr, Erin Moriarty, Dominique McElligott, Chace Crawford, Jessie T. Usher and Nathan Mitchell as members of the “Seven”, an official superhero group run by the conglomerate Vought International, who, while maintaining a lofty façade, are shallow celebrity figures prone to do horrendous things in secret. (wiki)
Lovecraft Country is an American horror drama television series developed by Misha Green based on and serving as a continuation of the 2016 novel of the same name by Matt Ruff. Starring Jurnee Smollett and Jonathan Majors, it premiered on August 16, 2020, on HBO.
The series is about a young black man who travels across the segregated 1950s United States in search of his missing father, learning of dark secrets plaguing a town on which famous horror writer H. P. Lovecraft supposedly based the location of many of his fictional tales. (wiki)
I cannot add much the excellent review by Lauren Michele Jackson in the New Yorker. In spite of my own initial enthusiasm for the new takes on Lovecraft’s inheritance – I was dumbfounded by both what she aptly signals (the lack of melodrama, the lack of tension and of bi-dimensional characters), as well as the sensation (sensed by others as well it seems) that everything has to be spelled out, and that we are made an unwitting participant in a prestige piece that takes all historical struggles either as a clear given or that tries to dispel all ambiguity and supply all the answers. All the ideological problems are already marked as finished, explained or to be check-boxed. It is as if Lovecraft’s perverted sense of inchoate slimy materialism, both formless, as well as degenerative and racist, gushes out to over-write, over-describe, literally to suffocate and overload all that could be said or shown about power or class relations. It is as if the desire to actually finally film and remake black history in a more just way, and the urgency of this nowadays, ends up over-labeling and indexing all historical settings and severely limiting all outcomes, circumscribing all relationships of this series, beyond the actual segregation and racial apartheid into some sort of finished, vacuum proof product.
This said, I liked the portrayal of racist occult cop KKK cabal – and how the Lovecraftian monsters were turned against the racist cops, one thing that I badly miss happening in reality. The cabal of rich white immortalist Southerners is a good addition, but then again they all feel incredibly bi-dimensional and out of a right-wing Satanist plot proliferrated today by QAnon. That itself, might be a good lead, yet it remains undeveloped and rudimentary. A much better (comics this time) example I have in Saladin Ahmed’s and Sami Kivelä Abbot by Boom Comics – the villain being much more tangible upper class white old dude academic or even a dark web intellectual (IDW) that uses brutal occult forces to recruit and transformed the black characters into monsters. The battle over Lovecraftian Necronomicon manuscripts and the high seats of academia is much more engaging. I am not sure if flop is a good term, just because season 2 was cancelled in 2021, or because it definitely has somehow closed down some interesting and very important Lovecraftian – systemic-racism venues.
I speak thus with a certain deeper and bitter dissatisfaction, but who am I to say. Although there was so much production effort, good vfx, CGI galore, good action science, and ample classic era pulp exaggerations and body horror ontological excess – it still left a vacuum. Body swapping is an important feature of this series and it really shows the corpo-reality of it, the pain and difficulty of such a metamorphosis which I also found does not get representation in movies. The creature and monster design is just wow, and yet i am still left with the “Sundown” pilot episode as setting the scene, and being actually the best of the entire series (especially the Shoggoth design).
I feel it could well have stayed a long feature movie. There is also an attempt at K- and J-horror “Meet Me in Daegu”, with finally an impartial portrayal of the Communist side during the Korean War that is not being dehumanized or instantly relegated to the enemy side. There is also another intriguing eps with the multiverse branchings (“I am” eps), portal jumping trough a larger multiverse with various highlights of black history from Harlem Renaissance to Afrofuturist imaginings, places and other times where black lives matter. This was finally one funky adventure with a black middle aged woman in the role of inter-dimensional Hippolyta – at its center!
I liked a lot of over the topness of it, the kitsch, the way everything is carnal as well as magical, the way racism is more horrific than the most horrific of Lovecraftian entities, at the same time like Michele in her review, felt actors skills and characters got reduced to just anti-racist Ghostbusters. I like the queering of it and the actors effort, yet I am left craving for something else, maybe miss a touch of that good weird fiction that has resulted in such good literary and aesthetically interesting materials (dunno why the prose of Sofia Samatar Monster Potraits comes to mind).
spacetime coordinates: 2019 farm in south-western France.
The Swarm (French: La Nuée) is a 2020 French fantasy-horror / drama film directed by Just Philippot. The film stars Suliane Brahim, Sofian Khammes, Marie Narbonne, Raphael Romand and Nathalie Boyer. (wiki)
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