Movie Review/ "Monster Summer"

By Anthony Caruso

As someone who’s always had a soft spot for coming-of-age stories, I was more than ready to dive into David Henries' second directorial feature, Monster Summer. Going into it, I wasn't exactly sure what to expect given the lack of marketing for the movie, but let me tell you—it exceeded my expectations! Monster Summer is a delightful mix of horror and heart, a gateway horror film that entire families can enjoy together. It even has a witch as the primary antagonist! That made me very happy as I've long lamented how witch content is so scarce compared to films about vampires, werewolves, and other monsters.

Now, I’ll start with a minor gripe: while this movie shines in many areas, it does lean heavily into clichés. We’re talking about your standard beats from the 'kids banding together to defeat evil' playbook. From the wide-eyed wonder to the ever-reliable "let’s split up and search for clues" trope, this movie doesn't really offer anything new. But I'll give credit where it's due: the script, written by Cornelius Uliano and Bryan Schulz, smartly sidesteps being just another derivative nostalgia trip by setting the movie in the nineties instead of the overdone eighties. (And I have to admit, I feel incredibly old now that the nineties are so far back that they elicit nostalgia. I still think they were only ten years ago!) Clichés aside though, there’s something truly special about Monster Summer, and that's thanks in large part to director, David Henrie. As mentioned above, this is only his second feature film, but he handles the material with confidence and style. The way he captures the coastal beauty of Martha’s Vineyard is stunning, giving the film a timeless, almost magical atmosphere. More importantly, he nails the tricky balance between horror and comedy—a sweet spot where films like The Goonies and The Monster Squad have thrived. Henrie clearly has vision, and I can’t wait to see where his career goes from here.

But a movie like this doesn’t work without a solid cast, and Monster Summer delivers on that front. Mason Thames, who I know from his wonderful turn in The Black Phone, leads the charge as our young protagonist, delivering a heartfelt performance that grounds the supernatural elements. And what a pleasant surprise it was to see Mel Gibson in the role of the curmudgeonly, retired detective with a tragic past! He brings just the right amount of gravitas and old-school charm to the character without overpowering the younger cast and is a large source of much of the film's humor. Lorraine Bracco is also a standout, while fans of The Sandlot are in for a treat, as Patrick Renna (yes, "Ham" himself!) shows up as a little league umpire in a small but pivotal role. It’s a delightful homage to his iconic turn in that classic, that's sure to make all of the former nineties kids in the audience grin from ear to ear.

And yet, while the ensemble cast works wonders, I do wish the film had spent more time developing the relationships between the younger characters, especially our main trio. Their bond, while sweet, felt a bit rushed and undercooked, as if we missed out on some of the emotional depth that would have made their journey more impactful. With just a bit more attention to those friendships, this movie could have soared to greatness. But even with that slight misstep, the film’s charm and heart more than make up for it.

For fans of The Sandlot, Stranger Things, and The Goonies, or even for those who just enjoy a good coming-of-age tale with or without paranormal elements, Monster Summer is a must-see. It’s a shame that the marketing for this film has been practically non-existent because it’s exactly the kind of movie that would attract a wide audience if more people knew about it. But mark my words, once it hits digital and streaming platforms, it’s going to find its audience and become a cult classic in no time. While it's not perfect, it’s the kind of film that you’ll want to revisit, especially toward the end of the summer when that first autumn breeze rolls into town. So, if you’re in the mood for a fun, family-friendly horror adventure that’ll give you just the right amount of chills and chuckles, don’t sleep on "Monster Summer". It’s one I can most definitely say I'll be watching again.

Movie Review/ "Saturday Night"

By Anthony Caruso

"Live from New York, it's Saturday Night!"

It's incredible that it took this long for a movie to be made about Saturday Night Live given the fact that the show is one of television's most enduring cultural staples. But the wait was well worth it, as Saturday Night - written and directed by Jason Reitman - is a fast-paced, manic, and downright hilarious take on the behind-the-scenes chaos that unfolded just before the show first aired. As someone who’s always thought SNL was just okay, I didn’t expect this movie to grab me as much as it did, but wow! I feel confident saying without any hesitation at all that this is the most fun I’ve had at the movies all year. (And given what a phenomenal year this has been for movies, that's saying something!) 

Let me start with the magic at the heart of this film: the tension. It’s real-time (or at least tries to maintain that illusion) and relentless, building up to the moment when the first episode of SNL goes live. The incredible part? The tension shouldn't work. We, as the audience, already know how everything turns out! We know history was made, and yet, you’ll still find yourself on the edge of your seat, feeling the pressure as everything that can go wrong does. Reitman masterfully captures that sense of uncontrollable chaos behind the scenes and it is absolutely electric. Similar to how Lorne Michaels managed to capture lightning in a bottle when he first assembled the original SNL cast, Reitman does the same here, bringing together an incredible ensemble that keeps the energy crackling throughout.

Speaking of Lorne, the character portrayal here is fascinating. Lorne Michaels has a well-known reputation as this dictatorial, enigmatic figure in real life, but Reitman’s script is surprisingly kind to him. Gabriel LaBelle plays him with just the right mix of anxiety and determination, making him almost angelic in comparison to the often ruthless figure he's been described as. Michaels should be thanking Reitman for this portrayal, for LaBelle’s Lorne is sharp, fast-talking, and, above all, maintains the illusion of control, even when everything around him is falling apart. It’s one of those performances that makes you root for the guy, even though you know his brand of perfectionism has probably driven countless people up the wall.

Now let’s talk about the rest of the ensemble that Reitman managed to assemble: they are absolutely pitch-perfect, especially the actors portraying SNL’s original "Not Ready for Primetime" players. Rachel Sennott, whom I have a massive crush on, is incredible as Rosie Schuster, Lorne’s wife, right-hand woman, and a comedy genius in her own right. She brings a sharp wit and grounded intensity to the role that balances out LaBelle’s frantic energy. But the real stars? The actors playing the very first SNL cast members. Cory Michael Smith nearly steals the film as Chevy Chase, perfectly capturing the deadpan, absurd humor that made him a household name back in the day. And it’s not just him—every single one of the original players is given their moment to shine. You can almost feel the magic in the air every single time Dylan O'Brien's Dan Aykroyd, Matt Wood's John Belushi, Ella Hunt's Gilda Radner, Kim Matula's Jane Curtin, Emily Fairn's Laraine Newman, and Lamorne Morris's Garrett Morris step onto the screen. Each actor nails their mannerisms, quirks, and comedic timing so well, you’ll swear at multiple points you're watching that original, iconic cast back in their heyday! 

It’s hard to categorize Saturday Night as a traditional plot-driven movie because while there’s definitely a story arc here, it feels more like a collection of scenes capturing the personalities, the drama, and the absurdity of creating a live show episode of television. There’s a real charm to watching these larger-than-life figures clash and fumble their way through the insanity of the ninety minutes leading up to that historic show, and the real joy of the movie is watching these characters pull off the impossible.

I could go on, and on, and on about this film, but my opinion can be summed up succinctly: Saturday Night is an absolute blast! The pacing is so fast and the dialogue so sharp that I know I missed a few jokes and Easter eggs, and I can’t wait to see it again and catch all the little details I missed the first time around. Whether or not you’re a fan of SNL, have any interest in how live television is produced, or just someone looking for a damn good time at the movies, I urge you all to run - don't walk - to see this movie. I guarantee that you will not be disappointed.

Movie Review/ "Salem's Lot"

By Anthony Caruso

As a huge fan of vampires, I’ve always held Stephen King’s Salem’s Lot in high regard. The novel is one of my absolute favorites, and while I’ve enjoyed the two prior adaptations, neither felt like the definitive take on King's chilling tale in the way Andy Muschietti’s It Chapter One and It Chapter Two feel for King's It. As such, to say I was looking forward to Gary Dauberman’s remake would be an understatement. However, after all the delays, the shelving, and its quiet drop on Max, I finally got to see what the holdup was. And while it’s not the disaster I feared, it’s definitely far from the definitive adaptation fans like me were hoping for. Honestly, it feels more like a low-budget, made-for-TV movie than the grand, terrifying version of Salem’s Lot that the novel deserves.

Now, that’s not to say this movie is bad. I’ll start with the positives: Lewis Pullman is phenomenal as Ben Mears. He brings a gravitas and depth to the character, making him instantly likable and easy to root for. Bill Camp is equally great as Matthew Burke, the wise elder who helps Ben uncover the sinister forces at play in the town. Their performances were highlights, and I'd even go so far as to say they helped anchor the film in moments where it risked drifting off into mediocrity. And speaking of highlights, Barlow’s design? Spot on - for the most part. There are some shots where he looks like the demonic nun, Valak, from "The Conjuring" franchise and other shots where he looks like a horrible CGI creation. But I digress. Most of the time, he looks terrifying, exactly how the character should be. 

But aside from the movie's aforementioned positives, everything else falls squarely into the "fine" category. The rest of the cast is serviceable, but their performances veer into campy territory at times. Now, don’t get me wrong, I’ll take camp over flat-out bad acting any day, but considering the source material, it’s a little disappointing. It’s especially frustrating because the vampire effects—Barlow aside (again, for the most part)—are more laughable than scary. At times, it truly did feel like I was watching a SyFy original from the early aughts rather than a film shot with today's modern CGI capabilities.

I have to give credit where it’s due, however: Dauberman’s direction isn’t entirely without merit. Some of the shots are beautiful, especially the sweeping views of the town and the imposing Marsten House. That setting looks as creepy and foreboding as you’d hope, looming over the town like a dark omen. But for every impressive wide shot, some interiors feel strangely cheap, as though they ran out of money before shooting wrapped. It’s a shame because the atmosphere of Salem’s Lot is where half the terror of the book derives from, and while the Marsten House works, the rest of the town feels like a Halloween haunted house attraction. And unfortunately, Dauberman misses out on delivering iconic moments that would elevate the film into something truly memorable. One of the most terrifying scenes in the original adaptation of the novel is Danny Glick floating outside Mark Petrie’s window - a scene that remains pure nightmare fuel that haunts viewers to this day. Here though? It falls completely flat and has no effect on the viewer whatsoever. Sadly, this film is completely void of any kind of visceral and lasting scares like the kind we got in prior adaptations. The horror sequences, while competent, never reach the heights of terror that the source material so masterfully builds.

In the end, Salem’s Lot is fine. It’s an entertaining enough watch if you’re in the mood for some vampiric fun during Spooky Season, but it’s not the definitive adaptation we’ve been waiting for. Hardcore King fans like myself will likely walk away feeling unfulfilled and still craving the ultimate adaptation of this iconic story.

Queen Mary Dark Harbor 2024

So excited to share the return of the Queen Mary’s Dark Harbor! It’s been four years since we last stepped foot on the legendary haunted ship. It has been said that the ship and it’s hotel is one of the most haunted hotels in the country, but the event had to take a pause during Covid and allow some time to do repairs to the ship. But 2024 they are back and better than ever!

What makes this such a go-to attraction during the halloween season is the simple coolness of the environment. You’re on a haunted ship for Pete’s sake! A marine layer adds some additional natural fog on certain nights that make any fog machines secondary. Walking through the deepness of the boiler room, or down the service hallways (usually without a lot of lights) is pretty darn creepy.

What sets Dark Harbor out from the other haunts is 100% the cast of characters. The event does an absolute fabulous job in casting every member of the event. Lady Mabel, Samuel the Savage, Graceful Gale, every Slider. bartender, food vendor and of course The Ringmaster makes the experience feel intimate no matter how crowded it can get on a sold out night. Add in the opportunity to score a coin from one of them that allows access to hidden speakeasy’s through the event makes this top notch fun in our book.

“The Spirit Rise Once Again” is the perfect welcome back. Catch an epic night to get in the Halloween spirt! Running from September 20th through November 2nd, 2024 at 1126 Queens Hwy, Long Beach CA 90802.

Movie Review/ "Joker: Folie a Deux

By Anthony Caruso

Given the massive impact Joker had back in 2019, I didn’t think its sequel could be more divisive. I went into this under the assumption that if you loved the first film, you’d probably love this one, and if you hated it, you’d likely hate this one. But after watching this film, I can confidently say Joker: Folie à Deux won't just be divisive, but it’s going to split people right down the middle more than the original ever did. My own wife and close friend, both of whom adored the first movie, walked out of this one completely disappointed. And here’s the kicker—it wasn’t even the fact that it’s a musical that bothered them. They just found it "boring". As for me? I absolutely loved this film. I think it’s just as much of a masterpiece as the first "Joker," if not more in some ways. It’s still dark, still gritty, but the musical elements add this infectious, rewatchable charm that makes it stand apart. Don’t get me wrong - this movie is still bleak, but the songs bring a strange kind of lightheartedness that contrasts sharply with the courtroom drama at the core of it all. And believe me, it works.

Joker: Folie à Deux picks up right where the first film left off, with Arthur Fleck sitting in jail for the chaos he unleashed. Watching it right after the original really helped bring the full weight of the story together. It’s a direct continuation, almost like we’re still stuck in the fever dream that is Arthur’s unraveling mind. The film digs deeper into questions of mental health, specifically making us question whether or not Arthur Fleck is the Joker and responsible for all of his crimes or whether the Joker a separate persona that Arthur can’t control. The film also brilliantly layers in commentary on how society and the media sensationalize its villains, often turning them into antiheroes for the lost and disillusioned. This is where Lady Gaga’s Harleen "Lee" Quinzel comes in. She’s someone obsessed with the Joker, drawn in by the media coverage of his crimes, and she’s hellbent on pushing Arthur to embrace the chaotic clown persona even more.

Let’s take a moment to acknowledge Joaquin Phoenix, who turns in another phenomenal performance as Arthur. This role is a goldmine for him, and I honestly wouldn’t be surprised to see him earn another Oscar nod, and maybe even a second win, for reprising the part. His Joker is just as raw, unhinged, and heart-wrenching as ever. And as for Lady Gaga? She more than holds her own. Her version of Harley Quinn, or “Lee” as she’s called here, is as unique and haunting as Phoenix’s Joker. If I had one minor complaint, it’s that her character isn’t given quite enough to do in the grand scheme of things. That said, when she’s on screen, she owns it. The chemistry between Phoenix and Gaga is absolutely electric. It's so palpable, that you can feel it radiate off the screen. Meanwhile, the ensemble cast this time around is even larger, and everyone brings their A-game. Brendan Gleeson, in particular, is a standout as Jackie Sullivan, a guard at Arkham Asylum with his own arc that adds layers to the story. There’s this brilliant tension between the larger-than-life leads and these supporting characters that makes the whole film feel like a tapestry of twisted, fascinating personalities.

Now, onto the musical aspect. Yes, this is a musical, and while that idea might sound jarring on paper, Todd Phillips proves once again that he knows how to subvert expectations. The music adds a wild new layer to the storytelling, lifting some of the movie’s bleakest moments with ironic, almost surreal levity. It’s absurd but in the best possible way. Both Phoenix and Gaga shine in their performances, and I’m already looking forward to buying the soundtrack and having it on repeat.

Speaking of Phillips, he’s outdone himself again with this one. This is pure cinema in every sense of the word. It doesn’t just toe the line of what we expect from comic book movies but erases the line entirely. Joker: Folie à Deux is a dark, thought-provoking, complex film, and once again, Phillips delivers a product that transcends its comic book origins to become something more. It’s a movie that stands proudly beside its predecessor but also carves out its own unique space.

Did we need a sequel to Joker? No. Did it need to be a musical? Definitely not. But here we are, and frankly, we’re better off for it. These two films watched back-to-back, are going to make for one hell of a double feature. Together, they tell one continuous story - one that’s complex, disturbing, and, yes, divisive. While I personally loved every second of this movie and believe it will be celebrated as a classic in the future, I know not everyone will feel the same. This is a movie that demands an open mind, and it’s sure to stir up all kinds of reactions. That being said, I highly recommend rushing to see it on the biggest screen possible. Whether you love it or hate it, Joker: Folie à Deux is an experience worth having.

Movie Review/ "My Old Ass"

By Anthony Caruso

It's rare for a comedy to strike such a delicate balance between humor and heart, but "My Old Ass" achieves it effortlessly. Directed by Megan Park, this 2024 film is more than just a delightful comedy—it's a warm hug of a movie that will likely become a go-to comfort watch for many. While it doesn’t pack the kind of gut-busting laughs you might expect from its fantastic trailers, it offers something even more valuable: a touching, deeply relatable story about time, love, and self-acceptance that resonates long after the credits roll.

Megan Park's direction here is nothing short of excellent. Every frame is visually stunning, with the kind of cinematography that feels vibrant and alive, making all of the many quiet moments of the film feel like something special. But it’s her writing that truly elevates "My Old Ass" from good to great. This is a coming-of-age story that transcends age, speaking to the fleeting nature of time, the importance of living in the moment, and the need to embrace both the people and opportunities we encounter in life. It’s the kind of film that makes you want to call your best friend and/or your parents, tell them you love them, and remind yourself to live without fear and regret.

On top of that, it’s wonderfully progressive to boot. At its core, this film is about accepting who you are and embracing the people in your life who see you for who you truly are. The queer representation is handled beautifully, woven into the fabric of the story without ever feeling forced. It’s one of those rare films where everyone can find a little piece of themselves in the characters, regardless of where they are in life.

Speaking of characters, Aubrey Plaza, as expected, is fantastic in the role of the adult version of our main character, Elliott. Sexy, sarcastic, and effortlessly funny, she lights up the screen whenever she appears. But here’s the thing—if you’re going into this movie for a heavy dose of Plaza, you might be a little disappointed. Contrary to what the marketing suggests, this is Maisy Stella's movie. As the younger version of Elliott, she absolutely steals the show, delivering a performance that is tender, vulnerable, and full of charm. Her portrayal of a young adult navigating the tricky waters of self-discovery is the emotional core of the film, and she carries it with such grace and authenticity that you can’t help but root for her.

At just ninety minutes, "My Old Ass" flies by. When it ended, I found myself wishing it were just a little longer, if only to spend more time with these wonderfully crafted characters. While I wouldn’t necessarily recommend rushing out to see it in theaters, it’s a must-watch when it becomes available for home viewing. It’s one of those rare films that offers something for everyone—young or old, queer or straight, lost or found. And while there is a bit of nudity and language, even younger viewers could get something valuable from it.

So, should you see "My Old Ass"? Absolutely. Just maybe wait until you can cozy up on the couch with a blanket, some tea, and the time to reflect on how fleeting and precious life really is.

Book Review: "I'm Starting to Worry About This Black Box of Doom" By Jason Pargin

By Matt Spaulding

Abbot thinks he is picking up just another ride-share customer when he pulls into a quick-stop parking lot. Instead, he meets Ether, a mysterious woman who has a large, sealed black box she has been hired to transport clear across the country to Washington D.C. in just a few days in time for the Fourth of July. Soon, the two become the subject of multiple conspiracy theories and a cross-country chase.

I’m Starting to Worry About This Black Box of Doom is the first definitive novel about the modern internet age. Pargin has crafted a narrative about all the issues facing our country today: isolation, mental health, radicalization and the rapid spread of misinformation. He perfectly captures the way that a small misunderstanding and a lack of information can balloon into insane conspiracy when fed through the internet hive mind.

One of the intriguing things in this novel is how the character we start the book with, Abbott, changes throughout. When we meet him, he’s riddled with anxiety and has lots of social issues and problems with his dad. We think he’s a lovable loser. But, the more we get to know him, the more we learn that might not be the case.

Conversely, when we meet Ether, we begin to think that she’s perhaps part of something shady. We aren’t sure at all what she’s about. But, ultimately, she ended up being the best character in the book, in my opinion. Through Ether, Pargin said a lot of things that I’ve known for a long time that I think too many people don’t know but need to hear. Despite a note from Pargin at the end of the novel about how everything in the book is fictional and tries to distance himself personally from the characters, Ether feels most like the character who is expressing his views. I have no way of knowing this, of course, but she’s so authentic it’s the feeling I walked away with.

Another major player is retired FBI agent Key, who can’t leave her job behind. She specialized in online radicalization and tracking terror threats, and the story of Ether and Abbot convinces her there is a major threat to national security. She’s pretty ridiculous, just as unable to accept actual evidence (or lack thereof) as anyone she’s studied on a message board. She’s an example of how even the best of folks can get roped into things under the right circumstances.

The story being told is gripping, mysterious, and hard to put down. And, though Pargin would deny it, it’s an important story, too. Some folks may argue that fiction can’t be important, but I disagree. The power of stories is strong. Fiction allows us to explore other points of view and ideas we may not have considered before. Because of that, I consider I’m Starting to Worry About This Black Box of Doom to be one of the most important pieces of fiction of our time. Because, even though I can’t give it away, what’s inside the Black Box of Doom isn’t what anyone thinks it is. But what is in the box still has the power to wreck the world, and we all need to figure out how to stop it.

Movie Review/ "Creeping Death"

By Anthony Caruso

Let’s get straight to it: "Creeping Death" is a charmingly flawed yet delightful addition to the modern horror landscape. A Screambox original that was released earlier this month, it has all the hallmarks of a classic Spooky Season watch, perfect for those chilly October nights. While it may not be a technical masterpiece, it’s a love letter to the Halloween spirit that will surely find its way into your annual rotation.

As many of these movies do, the film centers around a group of teenagers trying to have a fun and irresponsible Halloween night out. While the acting ranges from serviceable to outright cringeworthy, the cast is refreshingly relatable. They look like real kids, not polished Instagram models, which adds a layer of authenticity. The exception is Delian Lincourt, who is  stunning in an almost unrealistic girl-next-door type of way, and who I also feel confident in saying is the best character in the film. She draws you in with her natural charm and charisma, and her character is the kindest of the group. The group's chemistry overall, however, is palpable, and you genuinely care about their fates as they face off against a terrifying monster rooted in Irish folklore: the Aos Si. I have to commend the creature design: it's cool and intimidating and is an interesting take on what is essentially a type of fairy or elf in Celtic mythology. And while it's your standard mindless horror movie beast, it's memorable enough to elevate it above a lot of run-of-the-mill creatures found in a lot of slashers nowadays.

Regarding the writing, it's fine. It's nothing special and leans into cliches, but Matt Sampere - who didn't just write this film, but directed it and stars as the lead character, Tim, as well - knows exactly the kind of movie he wants to make. And there is some really good stuff in the average script. Indeed, the movie's strongest aspect is the heartbreaking subplot surrounding Tim’s mother battling brain cancer, which I found to be a nice touch to the film that helps ground it amidst all of the supernatural chaos. It hits all the right emotional beats, adding weight to Tim’s struggles, and makes you truly invested in his journey.

That said, "Creeping Death" does have its shortcomings. It frequently looks cheap—obviously, a product of its streaming roots—and some background actors are caught in the throes of overacting, reminiscent of the B-movie charm found in films like "Terrifier." But let’s be real; something is endearing about its self-awareness. Matt Sampere's direction captures this essence beautifully, turning potential flaws into delightful quirks. And what really sets "Creeping Death" apart from a lot of Spooky Season fare, in my opinion, is Sampere's clear love for the Halloween holiday itself. Every single frame is filled to the brim with a vibrant autumnal atmosphere. It oozes Halloween vibes throughout its entire runtime - hell, even all of our teenage characters are dressed like the characters from the holiday classic, "It's the Great Pumpkin, Charlie Brown"! - making it a perfect film to watch while sipping apple cider or a nice, hot pumpkin spice latte while carving pumpkins. In short, despite its low budget, it evokes that classic spooky feel that many recent horror films often miss.

In the end, I found myself really enjoying this movie and wanting to spend more time in this universe. "Creeping Death" is good enough that I’d love to see a sequel, perhaps with a bigger budget and a deeper dive into the mythology of the Aos Si. Here’s hoping it garners enough views to make that happen. Whether or not it does, however, this one is worth a watch on its own - especially if you’re looking for a film that captures the spirit of Halloween with a blend of heart, humor, and just the right amount of scares. Add "Creeping Death" to your annual Spooky Season lineup—you won’t regret it!

Movie Review/ "The Substance"

By Anthony Caruso

Prepare yourself for a wild ride—“The Substance” is nothing short of a roller coaster, delivering a twisted and deranged modern fairy tale that will leave you breathless. Directed and written by the incredibly talented Coralie Fargeat, this film stars Demi Moore and Margaret Qualley in roles that blur the lines between an ugly old witch and a naive, beautiful princess; decay and youth. It’s a brilliantly crafted parable about femininity, the pressures that society places on people to retain their youth, and the relentless expectations the entertainment industry imposes on women to remain eternally fit and beautiful.

From the very first scene, Fargeat’s visionary direction captivated me. The script is a riveting blend of unsettling drama and dark humor. The direction turns the mundane into something genuinely terrifying through unnerving close-ups that pierce through the fairy tale-esque camera filter that gives the movie a dreamlike quality. This isn’t just "body horror" for the sake of "body horror"; it’s a deeply layered narrative that explores the human experience. As someone who usually steers clear of "body horror" themselves, I found “The Substance” to be a refreshing exception in the genre that resonated with me on multiple levels.

As alluded to above, in terms of visuals, the film possesses an almost dreamlike quality, enhancing its fairy tale essence. Each shot is crafted with precision, making even the most ordinary moments feel fraught with tension and foreboding. This aesthetic mastery is a testament to the cinematography, which should undoubtedly earn accolades come awards season.

Now, let’s talk about the performances. Demi Moore and Margaret Qualley deliver Oscar-worthy turns that are both mesmerizing and raw. It’s thrilling to see Moore back in such a commanding role, effortlessly showcasing her depth as an actress. But it’s Qualley who truly blew me away—her portrayal of a woman who spirals into darkness is nothing short of astounding. This has been a remarkable year for her - she was one of the highlights in "Kinds of Kindness" too, after all! I’d love to see her cast as Catwoman in the upcoming DCU reboot!

Besides being one of the most disturbing movies I've ever seen, it's also one of the sexiest! Indeed, both our lead actresses spent a large portion of the film completely nude, and a substantial portion in skimpy outfits, shot in a way that's almost pornographic. In terms of the nudity, while prevalent and provocative, it serves a purpose beyond mere titillation. Moore and Qualley embrace their bodies in a way that’s both daring and liberating. Fargeat doesn’t shy away from showcasing imperfections, challenging the audience’s perceptions of beauty and vulnerability. As a hot-blooded viewer, I certainly appreciated the sensuality and naked bodies, but I was equally impressed by the intent behind it.

While the movie is great, it’s worth noting that it isn’t flawless. It runs a bit too long, and the third act veers into chaotic territory that may be a tad much for some viewers - including myself. It works for the movie, however, and the film's ambition and thematic depth writ large far outweigh any shortcomings, which are mere nitpicks in the grand scheme of things.

Overall, “The Substance” is one of my favorite films of the year thus far. It’s a creative masterpiece that tackles relatable themes about aging with fascinating commentary on societal pressures, all while delivering compelling performances that linger long after the credits roll. Rush to theaters to experience this gem on the biggest screen possible —it deserves to be a box-office success. In fact, it was so damn good, I hope to see it at least one more time before it leaves theaters, and I know I'll be watching it often when it eventually hits streaming.

Movie Review/ "Speak No Evil"

By Anthony Caruso

Blumhouse’s 2024 remake of "Speak No Evil" is a chilling, inventive update that redefines the boundaries of psychological horror with its sharp, tension-filled screenplay and incredible performances. This remake is a testament to how a fresh take on a disturbing story can succeed by amplifying its core elements while delivering a new twist on the original's unsettling narrative.

The film’s screenplay, penned by James Watkins, masterfully builds tension from start to finish. The pacing is meticulously crafted, gradually escalating the sense of dread with every scene. The story’s uncomfortable humor is both unsettling and darkly comic, skillfully toeing the line between cringe-worthy and hilariously awkward. This balance adds layers to the narrative, making the horror feel all the more palpable and real as the viewer is drawn deeper into the disturbing events.

The performances in "Speak No Evil" are nothing short of stellar. The cast brings remarkable depth to their roles, transforming what could be a purely disturbing story into a deeply engaging psychological exploration. James McAvoy and Mackenzie Davis in particular deliver portrayals that are both nuanced and intensely believable, leaving viewers on the edge of their seats as they watch the increasingly perilous situation unfold before them. The chemistry between the characters is both compelling and eerie, enhancing the film's tension and adding to its emotional impact.

While the third act of this remake doesn’t delve as darkly into despair as the original, it remains effective in its own right. The shift in tone aligns with the film’s unique take on the story, offering a resolution that fits the remake’s overall approach while still delivering a satisfying and unsettling conclusion. This decision to adapt rather than replicate is one of the film’s strengths, showcasing a creative vision that respects the original's lessons about listening to your internal warning instincts while making a distinct statement of its own. 

Bottom line? This remake is a must-watch and is better than it has any right to be. Blumhouse has delivered a film that is as thought-provoking as it is terrifying, ensuring that "Speak No Evil" will be remembered as a standout entry in the horror remake canon. (A feat that is all the more impressive when you take into account the crappy year that Blumhouse has been having up until this point!)

Movie Review/ The Front Room

By Anthony Caruso

When I saw the trailer for The Front Room, I thought it looked like a very self-aware horror-comedy that could be a lot of fun. After all, is there anyone on this planet, regardless of how well they get along with their in-laws, who can't relate to the "mother-in-law from hell" trope? So, I was immediately in after watching the trailer. And it helped that Brandy was set to star after being M.I.A. for years. Unfortunately, The Front Room was not the film that its trailers advertised. It's billed and marketed as a horror movie, but this is absolutely not a horror film. At best, it's a dark comedy. And one that amounts to nothing whatsoever at that! As such, I can see a lot of people getting pissed off with this one. 

On its surface, The Front Room is about Belinda, a newly pregnant woman whose life goes to hell when her elderly mother-in-law, Solange, moves in after her husband dies. Now, the trailers made it seem like Solange was after the baby, possessed by a demon posing as the holy spirit. If that was the case, this would have been a far more interesting and fun movie; not to mention a far more focused one. Unfortunately, at its core, this film is merely about a mother-in-law who is trying to make life as difficult for her stepson and his bride as possible, seemingly for no reason at all. Is it because Belinda is black and Solange is a proud daughter of the United States Confederacy? I think the movie tries to be about racism at times, but more often than not, it’s directionless and doesn't know what it's about. Yes, it appears to be about racism a lot of the time. But at times it's about the body horror that's associated with pregnancy. Other times it's about motherhood. And yet, at other times it's about religion. For much of the movie, it's about the loss of dignity that comes with aging (shown by a lot of scenes involving shit). That's the biggest flaw with this film, it's completely directionless and doesn't know what it wants to be about. As such, feels overstuffed with undercooked ideas, all of which amount to a boring third act that amounts to absolutely nothing. 

The film was not only written by Sam and Max Eggers but directed by them, too. To cinephiles the name "Eggers" will be associated with "Robert Eggers" of The Witch, The Northman, The Lighthouse, and the upcoming Nosferatu fame. I can only imagine his brothers got this gig based on nepotism alone. Direction-wise, they do nothing special and don't seem to have a unique style or even a coherent vision. Their screenplay is badly paced and gets progressively worse as it goes along. In their defense, this movie is based on Susan Hill's story of the same name, so I don't know if the source material is this bad or not. But given the fact that Hill wrote the incredibly scary "The Woman in Black", I find it hard to believe that's the case, and I have to believe that the Eggers brothers botched the material when adapting it for the screen. 

In terms of the cast, it's mainly three people: Brandy as Belinda, Kathryn Hunter as Solange, and Andrew Burnap as Norman, Belinda's husband and Solange's stepson. Burnap is nearly a non-entity in this film. Brandy does the best she can with the material she's given and, honestly, it was so nice to see her starring in a movie again that she could have completely phoned it in and I'd have been happy. It's Kathryn Hunter's transformative performance as Solange that steals the show, however. Not only does she completely disappear into the role, thanks to a phenomenal makeup job, but between her grating accent, her disgusting demeanor, her overbearing nature, and her racist double entendres, Hunter truly makes Solange a despicable character you want to see drop dead, even if, in the end, she's merely a woman and there's nothing supernatural going on whatsoever. 

I know it sounds like I hate this movie, but I truly don't. Granted, it's nothing special, and I don't know if I'd ever stop to watch it again unless literally nothing else was on television. But it's fun for what it is when you get past the fact that its trailers sold you a false bill of goods and that you're not getting a supernatural horror flick. Would I recommend rushing to theaters to see this one? Absolutely not - especially if you don't have A-List or you're not part of some other movie membership club. But on a rainy Sunday afternoon if you see it pop up on TBS and need something to watch, and there's nothing better on television, I think it's worth a viewing. As long as you temper your expectations accordingly, you might enjoy yourself! Especially since there are far worse movies than this one out there, and far worse movies that have been released this year alone!

REVIEW, MOVIES, MOVIE REVIEWS

Movie Review/ Beetlejuice Beetlejuice

By Anthony Caruso

"The juice is loose!"

Given how successful the original "Beetlejuice" was, how much of a following it's garnered over the past three decades, and what a Halloween staple the film and the titular character have become, it's incredible to me that it's taken thirty-six years for a sequel to be made! But, we live in incredible times. Now here we are in the year 2024 and Tim Burton, Michael Keaton, Winona Ryder, and Catherine O'Hara have finally all returned for the first official follow-up to the beloved 1988 film. As an enormous fan of the original, my expectations for this movie couldn't have been higher, and I'm extraordinarily happy to report that not only were they met, they were exceeded. "Beetlejuice Beetlejuice" was absolutely worth the wait! It's not only a worthy successor to the original film, but it's an amazingly fun film in its own right!

Let me get my one nitpick with this movie out of the way first: it is a busy movie. There is a lot going on here. There are so many subplots that it feels simultaneously overstuffed and undercooked. Given its under two-hour runtime, it's to be expected that not every subplot would feel properly serviced or needed. Indeed, given how fast this film flew by, I wish it had been longer so that every thread introduced here was given the attention it deserved. That said, all of these seemingly disparate threads coalesce beautifully into such a wonderful third-act finale that’s exciting, side-splittingly funny, and incredibly zany that I imagine many, like myself, will walk out of the film extremely forgiving of how stuffed it is.

It's clear that Tim Burton loved making this movie. It's the most Burton movie we've received from the unique filmmaker in years, and his dark humor and morbid sensibilities are on full display here, as is his abundance of creativity. Part of what makes this movie so great, and what makes it feel like such a natural follow-up to the original, is that the majority of effects, sets (which look as though they've been painstakingly recreated), and costumes are done practically when possible. This feels like a movie ripped right out of the eighties, and it's all the better for it! Burton also stayed true to the original film in terms of crafting this story. Picking up in real-time, every original character is exactly where you would expect them to be nearly forty years later. Even Adam and Barbara Maitland, who were so essential to the original movie but are missing here, are referenced and we're given an explanation as to what happened to the lovable ghosts. And, despite Jeffrey Jones not as Charles Deetz due to the actor's personal legal issues, the character is still essential to the plot, and his presence is felt throughout. Of course, the fact that Danny Elfman returns to score the film helps make it feel like a natural extension of the first movie as well. In fact, the man does something I didn't think possible, he makes the iconic "Beetlejuice" theme somehow more epic! The whole score, and the accompanying soundtrack, is a banger though, and it's one I'll be listening to on repeat for a while. The movie does for Richard Harris' "MacArthur Park" what "Beetlejuice" did for Harry Belafonte's "Banana Boat (Day-O)" in one of its best sequences!

Michael Keaton once again dons the black-and-white pinstriped suit as Betelgeuse, the lecherous demon, and he slips right back into the role without missing a beat. He's as disgusting, slick, and fast-talking as ever, and he has even more tricks up his sleeves this time. While some may say it's Batman, I have always argued that Betelgeuse is Keaton's definitive role, and this movie goes a long way to proving my point. The man was born to play the trickster demon, whose backstory we delve into here. And that story is appropriately gruesome. Going into the movie, I was afraid that Burton was going to make the demon more of an antihero this time around, but that's not the case. He's still, without a doubt, a bad guy, even if he can be manipulated into helping the cause of good. That goes a long way toward keeping him so fun and exciting to watch. In addition, Burton shows an incredible amount of self-restraint with the character. Given his enduring popularity, it would have been easy to have him in every scene of this film. But he's used as sparingly here as in the original, which makes him more effective whenever he does pop up. Like "Beetlejuice", "Beetlejuice Beetlejuice" left me wanting more of the demon himself, which is the biggest compliment I can give the film.

Keaton's not the only returning cast member though! Winona Ryder is back as Lydia Deetz, who is still living with ample amounts of trauma following her encounter with Betelgeuse as a teenager. She's channeled that trauma into hosting a hit paranormal talk show, while also becoming a highly over-protective parent. Ryder is fantastic, and she gets far more to do with Keaton this time around. Suffice it to say, their repartee is easily the best part of the movie. It's Catherine O'Hara's Delia Deetz who very nearly steals the show though. O'Hara is a comedic treasure, and she absolutely chews the scenery throughout the film’s brisk runtime. It's wonderful we get so much of her this time around, including in the bureaucratic afterlife! I felt it impossible to tear my eyes from her whenever she was on screen, even when she was sharing it with Keaton's over-the-top demon. In the intervening years since the original movie, Delia has made a fortune via her weird, modernist art, and it's only made her more insufferable, which is a boon for audiences watching the movie! I will say, the relationship between Delia and Lydia is one of the most unexpected aspects of this film, and also one of the most heartwarming; the two have come a long way with their relationship since 1988!

The returning cast is joined by Jenna Ortega, who is perfectly cast as Lydia's daughter, Astrid. Justin Theroux plays Lydia's entertainment manager and love interest, Rory, who is just as slimy (in his own way) as the demon that's stalking her. And Willem Dafoe plays the dead B-List actor who’s become a detective in the afterlife, Wolf Jackson. Dafoe's character in particular is so damn fun, and feels inspired by the beloved Beetlejuice cartoon in particular. So does the final new character, Monica Bellucci's soul-sucking witch, Delores, who in life was Betelgeuse's wife. Bellucci has such a presence here! She’s gorgeous with her pale skin, black dress, and stapled body parts, which pull themselves together in a wonderful sequence set to The Bee Gees' "Tragedy", while her powers are demonstrated in a truly intimidating way. Unfortunately, it's her character who gets the short end of the stick in the movie. Indeed, her character and entire subplot could have been lifted out of here completely and the movie would barely have changed. I do wonder whether Burton should have done that and saved her to be the main focus of a potential third movie. Nevertheless, she's memorable with the little she is given to do here. And though he gets no dialogue, and I'm unsure of who plays him, I must shout out the character of Bob, one of Betelgeuse's shrunken-head employees who is sure to become a fan-favorite given his oddly adorable, silent demeanor, and his bigger-than-expected supporting role.

Is "Beetlejuice Beetlejuice" as perfect as the iconic original? No, but it nearly is. I would rank it a smidge beneath that film, but only just. Regardless, I cannot wait to watch the two back-to-back for many years to come in what's sure to be a wonderfully fun double-feature. "Beetlejuice Beetlejuice" is not just a legacy sequel done right, but one of the best legacy sequels in years. It leans hard into nostalgia and engages in just the right amount of fan service without overdoing it. At the same time, it carves out its own identity and is a wonderful stand-alone movie on its own. And though a sequel to the original movie, it pays a lot of respect to the animated cartoon and Broadway show as well, which fans of the entire franchise are sure to enjoy! Don't walk, but rush to see this film on the biggest screen possible. I guarantee you that there is no better way to kick off Spooky Season this year. I, for one, look forward to seeing it on the big screen at least one more time before we're able to summon it at home whenever we want by speaking the title aloud three times.

COMIC BOOKS, MOVIES, NEWS

The Massive-Verse Coming To The Big Screen?

By Brandon T. McClure

In 2021, Kyle Higgins and Marcelo Costa began publishing Radiant Black for Image Comics, which launched what became known as The Massive-Verse. Consisting of books like Rogue Sun, Inferno Girl Red, and Dead Lucky, the Massive-Verse has carved out a successful corner of the world of comic books with no sign of slowing down. At this year's San Diego Comic Con, Kyle Higgins revealed a very exciting new project in the works, the Massive-Verse is taking a leap to the big screen. 

One of the most recent entries in the Massive-Verse comes in the form of No/One by Kyle Higgins, Brian Buccellato, and artist Geraldo Borges. This ten issue limited series has been a unique entry in the Massive-Verse due to its multi-media approach to storytelling. The series follows the aftermath of an event in Pittsburgh known as the Accountability Murders where a man going by the name Richard Roe began killing corrupt people in power. These people had been doxed by a keyboard vigilante known as No/One, whose goal was to bring their corruption to light. He signed off his initial message with “No one is above the law, and I am No/One.” The mystery surrounding No/One is at the center of the series, as well as the identity of a new killer, claiming to be the original Richard Roe. No/One’s centers on the theme of accountability and how every act, big or small, has ripple effects. Plus a little bit of The Purge mixed in.

No/One Preview Issue #1 - Artist: Geraldo Borges / Colorist: Mark Englert

No/One was paired with a in universe true-crime podcast called Who Is No/One, which was hosted by characters in the book played by Rachael Leigh Cook and Patton Oswalt as well as guest stars from the likes of Todd Stashwick, Yuri Lowenthaall, and Loren Lester as No/One. Each episode of the podcast picked up after the end of each issue, and discussed the aftermath of the comic books events. It created a very engaging and unique reading experience but the ending of the book still left many lingering questions. Most notably the question at the heart of the comic, “Who is No/One and why did he do this?”

During the “Enter The Massive-Verse” panel at San Diego Comic Con 2024, No/One interrupted Kyle Higgins with a video proclaiming that “I am No/One and this is my story.” This video was followed by the reveal that an in-universe feature length documentary is in the works. The documentary, titled I Am No/One, will recap the events of the comic and podcast and shed new light on those same events as well as act as a sequel to the series, and seemingly answer the question at the heart of No/One once and for all. I Am No/One will be directed by Kyle Higgins and is looking to start filming sometime next year. Seemingly, the cast is already set as Higgins stated he cast the podcast with an eye towards this documentary, but it’s unclear at this time how many are due to return.

For this ambitious project, director Kyle Higgins will utilize “sit down interviews, phone and drone footage, news coverage, and first-person GoPro and helmet videography from the “NO/ONE” operation itself” according to The Wrap. This may be Higgins first time directing a feature length film, but this isn’t the first time he’s done something like this. Higgins has directed many short films that have tied into his comics, most notably The League (tie-in to C.O.W.L.), Versus (animated short film from Radiant Black), and Power Rangers: Shattered Grid (promo for the comic event of the same name). He loves to experiment with multi-media stories, such as Bear McCreary’s comic/album The Singularity, so I Am No/One is the logical next step.

Massive-Verse / Radiant Black

At this time, there is no official word yet on how this documentary will be distributed but it is being produced by Black Market Narrative, ZQ Entertainment, producers Ara Keshishian, Petr Jakl, Stuart Manashil and Steven Schneider (Insidious, Late Night with the Devil, and Paranormal Activity), and, of course, Kyle Higgins and Brian Buccellato. As far as distribution goes, it’s likely this will be a streaming release, possibly on the Black Market Narrative YouTube channel, since there may not be a large enough audience for No/One to warrant a theater release. The Massive-Verse may be popular but an in-universe true crime documentary may be a tough sell to general audiences. But it’s hard to rule anything out at this moment since it’s still a ways away from release. Even if it’s incredibly niche to a general public, it’s still incredibly exciting for Massive-Verse fans. Especially for the fans who were hungry for more after the end of No/One

The collected edition of No/One is due out in November, and will no doubt find new readers looking for this kind of biting political commentary. But No/One has a very particular structure when paired with the podcast, so It’ll be interesting to see how the creators include the podcast without the benefit of a monthly publishing schedule. Likewise, the documentary may also struggle. While it’s exciting now, I Am No/One will likely be out two years after the book wrapped up. It’s not unreasonable to wonder if the hype surrounding this multimedia story will sustain that long. But Massive-Verse fans are in it for the long haul and will no doubt show up when the documentary drops.

The Massive-Verse started as one comic but has grown into one of the most exciting comic book universes on the market. It’s a truly exciting time in the Massive-Verse, as Radiant Black’s “The Catalyst War” event wraps up, a card game on the horizon, the return of C.O.W.L., an audio drama based on the first volume of Radiant Black due out this Fall, and the I Am No/One in-universe documentary. It’s an embarrassment of riches coming from one of the most exciting comic book universes the industry has ever seen.

HORROR, MOVIE REVIEWS, MOVIES

MOVIE REVIEW/ AfrAID

By Anthony Caruso

Wow! Blumhouse has had quite the streak this year! Three films released in 2024 - Night Swim, Imaginary, and now AfrAId - and all three have been complete duds. It's a shame considering the fact that Blumhouse used to be a huge powerhouse in the horror space. Now, however, when their company logo pops up, I always end up giving an involuntary shudder and expecting the worst. 

The basic premise of AfrAId is promising enough: a family is chosen to test a new smart home AI called AIA, which ends up become self-aware and dangerously begins to interfere with and manipulate their lives. While it's definitely not an “original” idea, it's normally a solid enough idea that it usually spawns entertaining films. Not AfrAId, however. Despite the kernels of an interesting story about the dangers of artificial intelligence that are buried within Chris Weitz's muddled screenplay, and despite some interesting setup, AfrAId never takes off or lives up to the promise of its premise's potential. Especially not when it comes to its story, its characters, or its direction. Indeed, Chris Weitz - who also directed this film - ends up delivering to audiences what amounts to a Lifetime Original Movie. He tries to nicely gift wrap the dangers of AI in a story about a struggling, if loving, family. Not only does it look cheap, as though it has the budget of a made-for-TV movie, but it's also just boring on top of being bad. There never appear to be any real stakes, nor do you care enough about the film's characters to actually give a damn about what happens to them!

The cast of this movie is trying their best, and is actually quite charming, but they're never quite able to elevate the material they're given. They are unable to deliver memorable enough performances where I could say that the acting was good at the very least. That's a shame, because avid filmgoers will know that this cast is comprised of very good actors! John Chu has really come into his own over the past few years, demonstrating that he's more than just a go-to for stoner comedies but is somebody that’s actually capable of delivering true dramatics. Katherine Waterston is underrated and undervalued in a lot of ways, mainly due to the material she's been given in recent years like the bland Harry Potter spinoff films, Fantastic Beasts and Where to Find Them. Unfortunately, the two, who play husband and wife here, have next to zero chemistry, and their characters seem intent on making the dumbest decisions possible at every turn. Meanwhile, after a star-making leading man performance in Late Night With the Devil, it was absolutely jarring to see David Datsmalchian in such a one-note supporting role as one of the supposed creators of the villainous AI. Speaking of AIA, though, the strongest performer in this film is actually Havana Rose Liu who not only voices her to perfection, but plays Melody - the flirty and mysterious "advance employee" at the tech company that invented her.

Between the cast, which seems to be simultaneously bored with the material while trying their best, and Weitz's uninspired direction and a story, AfrAId is a movie that is made of a bunch of disparate, jarring components that never coalesces into a coherent or satisfying whole. It's also a movie that, at an extremely short eighty-four minutes including credits, feels far longer than it actually is. And while the ending is interesting, and will leave you with a squeamish feeling in the pit of your stomach due to its real world implications, it's not earned at any point over the course of the entire film leading up to it.

In a lot of ways, this was Blumhouse trying to remake their very successful film, "M3GAN", while discarding everything that made that movie work - including its iconic AI doll - and doubling down and expanding upon its flaws. And though "AfrAId" isn't the worst film of the year - it's no "Borderlands", "The Crow", "Madame Web", or even "Night Swim" - it comes pretty damn close to being it. There's nothing salvageable about this movie, and it's not even interesting or fun enough in a "so bad it's good" type of way; it's just bad and boring, which is an even worse sin. Even for fellow A-List members, I wouldn't recommend rushing to see this one, nor would I recommend watching this one when it hits streaming. It's just not worth your time, and is merely another swing and a miss for a once great horror production company.

BOOK REVIEWS

BOOK REVIEW + INTERVIEW / The Dragon in Winter (A Kagen the Damned Novel) by Jonathan Maberry

Matt and Jenny were joined again by one of Atomic Geekdom’s favorite authors Jonathan Maberry to discuss his August 20th, 2024 release of his 3rd book and conclusion to the Kagen the Damn novels - The Dragon in Winter . Watch/Listen to our interview to get an inside look and some exciting news released!

Join the conversation in the comments and on social media.


For a recap of our previous coverage of Kagen the Damned visit our AG Book Club post of the second book in the series: BOOK REVIEW + INTERVIEW / Son of the Poison Rose by Jonathan Maberry.

For audio, please check out the Atomic Geekdom Podcast to listen in.

The Dragon in Winter by Jonathan Maberry

Release Date: 08/20/2024

Published by St.Martin’s Press/ Macmillan

By Matt Spaulding

** POTIENTIAL SPOILERS AHEAD FOR KAGEN THE DAMNED Series **

With The Dragon in Winter, Jonathan Maberry has delivered another action-packed, character-driven fantasy and an excellent finale to his Kagen The Damned trilogy. The novel presents the end to the story that began in Kagen The Damned while also opening up a whole universe of potential to see these characters again and explore the return of magic to their world.

Like with all of Maberry’s novel, The Dragon In Winter, despite being over five hundred pages long, moves along at a clip that fans of fantasy may find refreshing and those readers who are fantasy curious are sure to appreciate. This comes from Maberry’s ability to deliver vital information about characters as the action take place rather than stopping for slow info dumps.

In this novel, we find Kagen and his allies working frantically to find a way to battle the Witch King and his armies that will give them the same advantage of magic that the Witch King has. This sends Kagen off to gather armies as well as hunt down magical artifacts, his brothers Jeklan and Faulker to the far north to rescue a dragon, and brings Tuke and Filia into positions of leadership in the army being raised. Meanwhile, the Witch King is seeking to turn himself into a demigod and bring the great god Hastur into the world in a material form so that he may reign supreme for all time.

The novel also keeps us abreast of what is happening with other characters like Mother Frey, Ryssa, and the twins, all of whom have had smaller but important plot lines in this saga. But where, in another author’s hands, some of these stories and characters may feel superfluous, Maberry deftly weaves them all together in a way where each and every one is vital to the outcome of the overall story and you never feel like you’d rather be spending time with another character any time the focus is on any individual.

The other thing that is accomplished in this novel in surprising ways is the complete subversion of several things you thought you knew before. The history of the Silver Empire is not what it seemed, and neither are several characters. If you’re someone who is good at piecing clues together, it’s all there and maybe you’ll figure it out, but if you’re like me and go for the ride without much thought, there are some big surprises in store.

Ending a journey that spans multiple novels is always difficult, because readers get into their head how they think it should end or how it might end, so there’s a risk they will be dissatisfied with the actual end. But I found The Dragon In Winter to be a great example of wrapping up everything in an exciting, meaningful and satisfying way for not only the story, but the characters I have grown to know and enjoy spending time with.

BOOK REVIEWS

BOOK REVIEW: Sacrificial Animals by Kailee Pedersen

Sacrificial Animals

By Kailee Pedersen

Published by: Macmillan Publishers

Publication date: August 20, 2024

“Sacrificial Animals” is a tale that sells itself as a horror novel based in Chinese mythology. And, to a certain extent, it is. With those elements entering into the novel late in the game (about 80% through) that it’s hard for me to say that is what this novel is about.

The story focuses on the Morrow family: patriarch Carlyle, eldest son Joshua and younger son Nick. They live on an expansive property called Stag’s Crossing. Carlyle is an angry, bitter, racist man who, after losing his wife and unborn child, starts abusing his sons emotionally and physically. Joshua, the favorite son, gets less of this treatment than Nick.

Eventually, Joshua meets and falls in love with a Chinese-American woman named Emilia and is then disowned by his father, leaving Nick to withstand his father’s moods alone. Nick also eventually leaves Stag’s Crossing and Carlyle behind for several decades. On his supposed death bed, Carlyle seeks to reconcile with his sons, who reluctantly return.

That’s the basic plot of the novel. It thrives more as a family drama about abuse than it as a horror novel. It takes the term “slow burn” to a whole new level. However, if that’s what you’re looking for, then this will be right up your alley.

Adding to the slow burn element is the format. Chapter alternate between “then” and “now”. One chapter will tell events that happened in the past. Followed by the chapters that tell what is happening in the present. Sometimes, though, I found myself forgetting if I was “then” or “now”, which led to a slightly confusing reading experience.

The language of this book is beautiful. Pedersen has a talent for rich, vivid, poetic description. Language lovers will relish in every bit of it. And while I do love rich and vivid descriptions and occasional jaunts into poetic prose, I often found the language too flowery. I longed for some modern, up-to-date, concise langue and storytelling rather than something that languished in the words. It probably could have helped speed up the pace of the novel, as well.

Throughout the novel, mostly in the “then” chapters, there are references to foxes and things that Nick and Carlyle have done both to kits and full grown adults (killed them, trapped them, that sort of thing). It all seems very metaphorical for most of the novel and I found myself wondering it’s intent until I hit that final part of the novel.

I wanted to like Sacrificial Animals. I’ve been seeking out horror that is written in different perspectives. I’m interested in horror that reflects cultures other than the one I’m most familiar with. I also don’t shy away from family drama. There’s a lot of potential for fantastic character work and development in a story like this. Unfortunately, this novel wasn’t able to hit that mark for me.

That said, like with all things, someone else may have a very different experience. As I mentioned earlier, if you are someone who really loves to sit with beautiful prose, then this may be a perfect fit for you. Making this book a great book club choice to expand on the conversation.

OPINION: Ghostbusters: Frozen Empire - Fails Its Lead Character

By Brandon T. McClure

The fourth entry in the Ghostbusters franchise (fifth overall) has arrived and was a modest success with a gross of a little more than $200 million. But while Ghostbusters fans and naysayers have largely left the movie in the past, there is one element of the film that people should still be talking about. If you start peeling away characters like Venkman, Podcast, Lucky, and maybe a few nostalgic fetch quests, the heart of the story is a queer star-crossed lovers' coming-of-age tale centered around Phoebe Spengler. Or at least, it should be and is only stopped from being so because Sony is scared of angering a very fickle fanbase. 

Ghostbusters: Frozen Empire sees the Spengler family move to New York City to take up residence in the old firehouse headquarters of the original film. This new film has a lot of moving parts and isn’t able to dedicate the kind of time that is needed for each one. This has the unfortunate side effect of failing arguably the most interesting part of the movie (and its successor): Mckenna Grace’s Phoebe Spengler. The Spengler family, and Grooberson (Paul Rudd), have fully embraced the Ghostbusting lifestyle, but after a particularly destructive run-in with the Hell’s Kitchen Sewer Dragon, the mayor, returning character Walter Peck, played by William Atherton, forces Phoebe to quit being a Ghostbuster. This devastates her, so she goes to the park after dark to play chess by herself (you know, like a teenager would do) but meets the franchise's first talking ghost named Melody. Melody and Phoebe begin to form a very queer-coded relationship, with Phoebe experiencing the equivalence of “gay panic” practically every time they meet. The story progresses with the two of them getting closer until Melody fulfills her unfinished business and passes into the afterlife. Leaving Phoebe alone. It’s a tragic ending to a queer awakening story, but one that has been told numerous times in different films throughout the 21st century and beyond.

The Spegler and Grooberson family (Carrie Coon as Callie, Mckenna Graces as Phoebe, Paul Rudd as Gary Gooberson and Finn Wolfhard as Trevor)

The only issue is it's not explicitly queer. The movie stops just short of explicitly saying anything one way or the other. It frankly feels like a miracle that any form of their flirting remains in the film. Sony has been so scared of angering the Ghostbusters fandom ever since the wildly toxic reaction to the 2016 remake directed by Paul Feig. The toxicity around that film was so bad that a disgraced former President released a video complaining about it before it was released (before he was elected). It’s been eight years since the release of that film and the fandom is still complaining about it. Ghostbusters: Afterlife is basically an apology to that fandom, so Ghostbusters: Frozen Empire couldn’t do anything but play it safe, otherwise they would risk the wrath of the outrage merchants and potentially alienate a fandom desperate for safety. Although it’s not like the movie broke any box office records, so maybe they should have just gone for it.

Right-wing grifters on YouTube have coined the phrase “identity politics”, to not admit they’re openly racist or sexist. It’s a hollow term that makes them sound like they know what they’re talking about when they claim that something has been made “political” or “woke.” But let's call a spade a spade here: these people only care about complaining that there are women, queer and POC characters in their movies now and they don’t like it. But Sony is so cowardly that they would rather hope to appease these people than incur their performative wrath. Sony isn’t even the only one, they’re just the ones that did it recently. This means that Phoebe's story is wildly undercooked and the potential of telling this kind of star-crossed lovers tale has been wasted by a studio with no backbone. If the filmmakers behind the new films are more interested in playing it safe by keeping a vocal minority happy, then why even bother to keep going?

Ghostbusters: Afterlife introduced a wonderful new character in Phoebe Spengler and fans of that film were looking forward to watching her grow and develop as the lead of a new Ghostbusters franchise free from the nostalgic confines of that film. Ghostbusters: Frozen Empire had the responsibility to focus on Phoebe’s story and progress it to the next stage, but there’s so much going on in the film that she gets lost in the weeds. Not to say there isn’t an arc for her in the film, she definitely drops that chip on her shoulder, but the film is trying to please too many masters. So much so that you end up wondering why the film would rather spend so much time on a subplot between Slimer and Trevor (Finn Wolfhard) when it could be focusing on Phoebe. The lore of the film matters more than the characters. Between trying to please the executives at Sony, the fans of the original, and the fans of the new, it either loses sight of Phoebe as the main character or is too scared to take the film where it clearly wants to go (into Melody’s ghostly arms).

Melody (Emily Alyn Lind) and Phoebe (Mckenna Grace)

This is not to say that the movie isn’t good. There are lots of great moments between the main cast of characters and the main villain is pretty cool. Even what little of the queer story that is there is very sweet. Melody and Phoebe are incredibly cute together as they steal away little moments and grow closer through their desire for connection. The relationship isn’t even subtextual either, it’s very much in the text of the film. Through dialogue, stolen glances, and even framing, the film tells the audience that these two are falling in love. There was likely a cut of this movie that ended with a kiss between Phoebe and Melody, but that’s just speculation (and a lot of reading too much into their final scene). Melody’s final line “I’ll see you in the fabric of the universe” might be one of the most romantic lines in the history of film. It’s just a shame the story wasn’t fully realized in the final film.

Ghostbusters: Afterlife doesn’t work because the cast gets to say goodbye to Harold Ramis, or that Gozer is the villain again. It works because of Phoebe and her family. But in Ghostbusters: Frozen Empire they feel like an afterthought. It’s depressing to sit there and see the potential for more and know that the opinions of some angry YouTuber upset over supposed “identity politics” matter more than those who are desperate to see themselves represented. Phoebe’s queer awakening had the potential to be aspirational and meaningful to so many Ghostbusters fans around the world. But Sony has made it clear that Ghostbusters doesn’t belong to those fans, it belongs to the grifters.

CON LIFE, EVENTS

CONLIFE / SDCC 2024 Recap with Jenny and Kyle

By Jenny Robinson

SAN DIEGO COMIC CON 2024

July 24th - July 28th / San Diego, CA

My first San Diego Comic Con was 2009. For 2024, it was an absolute blast to ride along on Kyle’s first attendance, and seeing things through a newbie’s eyes. He embraced the mayhem in stride and taught this veteran a few things as well.

Wednesday started off with the hellacious drive from Los Angeles to San Diego. As we say around here “Took THE 134, to the THE 5, to THE 805….” We made it just in time for Kyle to run at Olympic Speed onto the floor to the Hasbro booth to snag his Preview Night Exclusive of Star Wars Black Series - Darth Maul with Sith Speeder. Preview nights have even gotten bigger over the years! But no SDCC is complete w/o a trip to Tivoli’s (the oldest bar in Downtown SD) once the floor closes. A great place to meet back up with old pals and new friends. This has been a tradition I follow, as they have stiff drinks, affordable prices and a great neighborhood vibe. There has been many hours in the past at these tables, excitedly recapping the day, formulating game plans and catching up with colleagues. This year did not disappoint.

Kyle outside of Tivoli’s with his Preview Night Haul.

On Thursday, Kyle truly impressed me by being up before the sun to run down to the Marriott Marquis to get in line for the Dragon Ball Z exclusive pass. I lagged but met up with him later to snag our “I PLAYED DRAGON BALL: SPARKING! ZERO” lanyard (and I was reminded how very VERY bad I am at video games - and how good he is). The Dragon Ball Z activation is an awesome family friendly (no badge needed) activity. They do such a great job with the various elements to make them feel obtainable and in turn - incredibly enjoyable.
In addition, Kyle officially gained the name “KING OF THE FLOOR!”. He ran back into the mayhem to snag his exclusives he woke up so early for.

Kyle & Jenny’s silly photo op & Kyle’s swag

Thursday was a blast and possibly the busiest of our days! We continued over at Social Tap (fond memories of the 2013 Black Sails party at same location came flooding back to me) for The Op Games Party Games & Whiskey party! This event encompassed everything I love about SDCC. We were welcomed with Whistle Pig cocktails as we bounced around various game tables meeting new people. There were so many laughs as a bunch of us (some we knew, some were new) played TAPPLE AFTER DARK or attempted new languages with for DADADA. Having 10 seconds to come up with a word for “Sexual Positions” that starts with a specific letter in TAPPLE AFTER DARK…let’s just say, PG ratings were not met. The OP Games nailed it by making an event that became an easy ice breaker for attendees to meet and become new fans of their games (the games are so fun!!).

The Op Games - Party Games & Whiskey

Thursday wrapped up with dancing to Jason Deluo at the Fandom Party. The expanse that is SDCC has no limits. Cosplayers dancing to songs like Wiggle was quite the sight! And the audience was an interesting mix of attendees that were dressed to the nines while the other half was trying to figure out how not to crush their swag bags. It was a surreal experience but proved why so many, try so hard, to attend. I’ll note that I do appreciate the passes are handled by accumulating points to be entered to win, but did notice most attendees appeared to be industry guests. Aside from that, DAMN GREAT SHOW at a wonderful location at the Float in the Hard Rock. I was so caught up in dancing, I sadly totally missed the Deadpool drone show that night (Link HERE).
The only true disappointment of the day was the Focus Features Shaun of the Dead Experience. It was pretty sad. They ran out of all the exclusive branded cans of beer ridiculously early (which you also couldn’t drink because they didn’t get a liqueur license). So most attendees just received a non-branded can of local beer. To add to the frustration, they also sold out of most of the merch, leaving just a couple t-shirts in size small or 3X, a Foree Electric Trucker hat (which I couldn’t figure out why a trucker hat?) and a pair of socks. All overpriced. The line to get in was also chaos, making the online RSVP a bit of a waste of time. Do better Focus Features, I hope you learned from this failure. And high five’s to everyone with early reservations that had the opportunity to score a better experience earlier in the day.

Friday. Oh Friday.
Kyle continued to walk the floor noting “The sheer size of some of the booths was just unbelievable. The Marvel and DC booths were among the booths that were needed to visit while I was there. The Marvel booth had cosplay competitions and costumes set up from Deadpool and Wolverine and Captain America: New World Order!” And I hit the streets to stand in line at the Paramount Lodge. Without the tickets, I waited in stand by. This worked because I got in line early, and was prepared to wait. I ended up waiting about 2 hours. Because I was in line, had some wonderful conversations with others and a man who had done it before gave me some valuable tricks (“Go to the Star Trek area first to get a ticket for a t-shirt, then pizza, then drinks - or they’ll run out”). So I did exactly that! The cosplayers there were mind-blowingly awesome!

Jenny with @waltimusprime Marvel Cosplayers at the Paramount Lodge

Continuing Friday, I was excited to attend the FROM (streaming on MGM/Amazon) panel on the IMDB boat. Season 3 looks so creepy good (check it out - premiering 9.22) while Kyle continued to master the floor and tribbles, “The Star Trek booth was a mini zoo of aliens all centered around an episode of Lower Decks, The Menagerie. At the end of that experience you can take your photo in one of the displays and act like you were being attacked by one of the inhabitants.”

Kyle's Star Trek booth experience.

Then wrapping up the day with FX photo ops and XLE PartyPocalypse. XLE had multiple themed nights of parties (Legends of Fantasy, Anti-Hero, etc) that you could purchase tickets through Eventbrite. At $35 a head, it was an affordable and exciting way to continue the evening! The dance floor was jumping with cosplayers decked out in the theme, and a live band playing all the hits. Special shout out to some amazing cosplayers for the introduction to these long standing parties (for fun photos - check out cosplayer @sierramm on instagram).

XLE PartyPocalypse SDCC 2024

Saturday we were loosing steam and caffeine was a #1 necessity. I started the day with Kyle back on the floor. Per Kyle, a standout was “The Star Wars booth. It housed many costumes and props from The Acolyte and was playing scenes on a giant screen from different movies and shows.”
We jumped on the IMDB Boat and did the Rings of Power photo op before I ran to the Wynonna Earp panel. That was one of my favorite highlights this year. I fell in love with the show back in 2017 after SDCC introduced me to the wonderfulness of that silly SyFy show. After it’s final season on SyFy a few years back, fans are now SUPER excited for it’s return on Tubi with the 90 minute Vengeance special. We all have high hopes this will mean more seasons to come.

Wynonna Earp panel

Saturday wrapped at The Penguin Lounge. Boy O Boy did Max do well with this off site. I was truly impressed by the amount of detail both in the location, as in the staff/actors. Every step inside felt like you were deep in the underground trying to snag drugs to get invited into the “secret lair” of criminals. The actors embraced their rolls, interacted with the attendees and provided a fabulous time.

Inside the Penguin Lounge - MAX

We wrapped up the con Sunday by revisiting booths on the convention floor, grabbing lunch at one of our favorite spots, and braving Sunday traffic back up north. Sunday’s are always the best “Chill” day to just take in the sights. I loved having the time to actually pay attention to the elevators, walls and buildings. It’s also a wonderful day for families to just walk around and admire those monsterous building wraps, store fronts and local shops. We walked away from SDCC2024 very VERY happy geeks indeed.

We hope all our followers have the opportunity to visit. The outside stuff takes work but with some good sleuthing, socials media follows and alerts, emails, memberships, etc. all is possible.
With hard work, comes a full 4 day geek love schedule. Long live the CON-LIFE!

REVIEW / Justice League: Crisis On Infinite Earths - Part Two

By Brandon T. McClure

The Tomorrowverse is coming to an end with a massive three-part adaptation of the seminal comic book event Crisis On Infinite Earths. While Part 1 was an inventive story exploring the Flash's life in the franchise, Part 2 serves little more than to set up the final entry. Directed by Jeff Wamester and written by James Krieg, Justice League: Crisis On Infinite Earths - Part Two picks up after the events of the first film. After stopping the first antimatter wave from destroying the entire multiverse, the heroes find themselves under siege by a horde of shadow creatures. But now the Anti-Monitor is revealing himself to the heroes, and they may not be able to stop him. 

"The major selling point of Justice League: Crisis On Finite Earths - Part 2 is the Tomorrowverse Batman (Jensen Ackles) teaming up with a multiverse Batfamily that includes Batgirl (Gideon Adlon), Huntress (Erika Ishii), Batman Beyond (Will Friedle), and a few Robins (Zach Callison), if you don't blink. At least, that’s what the box art and marketing would have you believe. In truth, they have minimal screen time, and the filmmakers seem uncertain how to utilize them effectively. Even the much-hyped return of Will Friedle as Batman Beyond merely serves as set dressing for an underwhelming action sequence. Batwing, mentioned earlier, appears in only one frame of the film, leaving one to wonder if his role was intended to be cut entirely

All that being said, there is an interesting premise at the heart of the Batman sequences. Audiences learned in Justice League: Crisis On Infinite Earths - Part One that Bruce didn’t adopt Dick Grayson when he had the chance because he felt it would be irresponsible. Teaming him up with members of the Batfamily from across the multiverse allows him to see that he may have been wrong in his decision. It enables Batman to reflect on himself and learn what every comic book fan has known for decades: that Batman should never be alone.

Strangely enough, Psycho Pirate (Geoffrey Arend) has more to do in this film than Batman. Audiences learn a lot about Psycho Pirate’s Tomorrowverse history through a series of flashbacks. Audiences learn that he can travel the multiverse thanks to Earth 2’s Dr. Fate (Keith Ferguson), and they discover the events that lead him to becoming a supervillain. By the time the Anti-Monitor (Ato Essandoh) begins to influence him, you’re left wondering why this took so long. In truth, his story is kind of interesting; however, it halts the movie in its tracks whenever it cuts to one of his flashbacks. Therein lies the fundamental issue with the film: its flashbacks. 

While Justice League: Crisis On Infinite Earths - Part One expertly used Flash’s time travel abilities to weave each flashback into a cohesive narrative, this film struggles to find a way to make the flashbacks feel organic. Each time the film needs to exposit some backstory, it cuts to a flashback or a flashback within a flashback. It’s a useful narrative device that is used quite lazily in this entry and stalls the pacing of the film (that and the fake accents, but that’s a franchise problem).

However, the film does have a shining light in the form of Supergirl (Meg Donnelly). This film reveals more of what happened to her between the destruction of Krypton and arriving on Earth in Legion of Superheroes. Through the use of, you guessed it, flashbacks, the film reveals a hidden parently relationship between Supergirl and the Monitor (Jonathan Adams). While these flashbacks also ruin the pacing of the film, they feel far more engaging than the ones about Psycho Pirate. You begin to understand how Supergirl was able to change the Monitor for the better, leading to his desire to save the multiverse. Their relationship forms the emotional center of the film and ends up being the true standout. The emotional crescendo of the story is well worth it and packs an emotional punch.

There are some decent moments in the film, like the return of Matt Ryan as John Constantine, but ultimately you’re left wondering if this needed to be a full feature. Or even if there needed to be three parts to this story. You can’t help but shake the feeling that this entry is just filling time before the finale. But now the stage is set for a climactic battle between the heroes of the multiverse and the Anti-Monitor. Hopefully, part three can bring the whole thing home with a satisfying conclusion.

Rating this 6.5/10

For more coverage, check out Brandon’s previous article: The End Of The Tomorrowverse & The Future Of The DC Animated Original Movies

BOOK REVIEWS, Four Eyes Review

FOUR EYES REVIEW + INTERVIEW / "The Stardust Grail" by Yume Kitasei

Welcome back to another “Four Eyes” review. We take this moment to share 2 opinions on a single geek topic.

Below both Matt and Zahra will each dive into what they thought about Yume Kitasei’s new novel Stardust Grail. And check out Matt’s one-on-one with the author!

Let us know your thoughts in the comments or on social media using #foureyesreview

For audio, please check out the Atomic Geekdom Podcast to listen in.

FROM MATT SPAULDING

I won’t bury the lead: I haven’t had this much fun with sci-fi in a while.

When it comes to sci-fi, I mostly consume it via movies and TV. I’m a huge Star Trek fan and a Star Wars fan to a lesser extent. I love my sci-fi mixed with horror à la The X-Files and The Twilight Zone. I also get a kick out of Rick and Morty, Back to the Future, and a bunch of other sci-fi films and TV shows. But, when it comes to reading, my consumption of the genre is mostly limited to novels set in the world of Star Trek and the military/horror/sci-fi Joe Ledger series by Jonathan Maberry.

Looking at my taste, however, it’s not surprising I enjoyed The Stardust Grail as much as I did. It’s not just a sci-fi novel. If I had to best describe this book, it’s Star Trek meets Star Wars meets the Indiana Jones franchise meets Ocean’s Eleven. This book has it all: action, adventure, space travel, alien species, and heists.

The story centers on Maya Hoshimoto, a young woman who group up on a human colony on a distant planet who was once the greatest thief in the galaxy. Maya has given up crime to move to Earth and study at university. But when her former partner, Auncle, a member of the alien species called the Frenro, shows up at Earth to enlist Maya’s help in getting back The Grail, a lost Frenro artifact that can save the species from extinction, Maya is pulled back in for one last job.

But wait! There’s more! The Frenro were once responsible for the building of the Intergalactic Web, a series of portals that makes space travel possible. Turns out, The Grail also helps them build those portals. And something is destroying the portals, threatening to cut humanity off from the rest of the galaxy. So, not only has Auncle asked Maya to help find The Grail, so has the Earth military, who want to keep the Grail themselves.

Besides the action and adventure, I really appreciated the depiction of Maya and Auncle’s friendship. The Frenro are one of the most alien extraterrestrial species I have seen depicted in a while. They aren’t humanoid. They have a very different society and culture than humans. One of the things I found interesting was the cross-species relationship, which was close and loving, but also difficult because of the differences.

The pace of the book is almost non-stop. Kitasei takes just the right amount of time to slow down for character moments to build the reader’s connection to the characters and their relationships to each other, but is quick to get back to the action. There are plenty of twists and surprises along the way as well, meaning the book never feels predictable.

While I am on the subject of twists and surprises, there is just one near the end that I didn’t like. It was a real “wait, what? Really?” moment. The good news is, it didn’t even put a dent in my overall enjoyment of the book. Neither did the very ending, which was very abrupt. I got to the last sentence and felt like there would be more, but there I was at the end. It threw me for a second.

I said it at the top of this review and I’ll repeat it here: this book is a blast. I didn’t want to put it down, even when I knew I had to get some sleep because I had to wake up early for work. Be sure to pick this one up when it comes out.

FROM ZAHRA HUSEIN:

A quest, cool space stuff, and a quirky FMC.

From Star Wars to Star Trek, space is truly one of the coolest unknowns. While The Stardust Grail by Yume Kitasei is one of the few original space books I’ve read, I love a compelling story in any genre and this is very much that - a compelling story. It reads like a love letter to space travel by creating a unique world with adventurers going forth into the unknown.

“People were willing to hurl themselves into the dark, chasing the desire to be somewhere else.”

This tale is told from the first person perspective of our FMC (Female Main Character) Maya. Maya is a thief turned student. But when a book that catalogs the adventures of the last known explorer to go after an important artifact shows up at her school archives, Maya's ready to take back her former role. This story isn’t about your average space quest. This is a heist involving a ragtag gang of adventurers.

Maya is the perfect character for the progressive Gen Z folks - her priorities include actively fighting xenophobia, rebelling against colonization, and returning artifacts to their origins. However, Maya has a strong moral compass and a weak sense of self preservation which can put her in sticky situations. Auncle is our token alien (a Frenro). Frenros are one of the oldest species, but at some point in time they lost the ability to reproduce and they're worried about becoming extinct. Auncle also happens to be Maya’s closest friend and confidant because they were a duo team of thieves. Wil is the “muscle”. She is stuck in a CNE (Coalition of the Nations of Earth) combat suit due to sustained injuries from a battle but she has left the CNE and taken the suit with her. She's somewhat morally gray as she’s driven by the money offered and this causes tension between her and Maya (who can be morally good to a fault). Med IX is a medical robot who has been jailbroken and can now add to and modify their programming. They spend much of their time searching for more emotions to add to their system. Wil is especially loyal to Med IX, they’re a package deal. Lastly, there is Liam who is more of an honorable mention. Liam is Maya's advisor at school. Maya and Liam are both huge anthropology nerds, but he's always been afraid of space travel so he's more of the book smart to her street smart.

Together these characters go on an intergalactic heist and bring the story to life. Their expedition is interwoven with commentary on academia, classism, and racism but it isn’t heavily bogged down by it. Instead those themes make it relatable and just realistic enough that you can understand the emotional drive without being kept from the escapism a good novel provides.

“The Jersey Shore’s all right, though they’re still dredging all the houses that washed out to sea.”

For a sci-fi book, the world building isn’t too heavy either. Kitasei includes statements throughout the book that continue to paint a bigger picture and for the most part it keeps the reader from questioning how different things work or why some things are a particular way. Rather than spending pages on exposition and describing how every little thing looks, the reader is more immersed in the world and is given context clues that provide insight. (But if you need a more thorough explanation of the various species, there’s an appendix for your convenience.) In addition to mentioning different things that indicate rising sea levels on Earth, there are different gender terms used for each of the alien species, and the author utilizes an intriguing concept of "nodes" to explain deep space travel.

“...the idea that we are as strange to the people we study as they are to us”

The varied gender terms were an extremely interesting part of the world building. It makes sense that other species would have different preferred gender terms. Some use “xe” and “xyr”, others use “ey” and “eir”, and one of the species even used the royal “we”. Likewise, Kitasei’s use of “nodes” was ingenious. Nodes allow people to travel over different distances of space almost like a portal. This method keeps the reader from wondering things about distance and time which are often distracting in stories set in space. Sometimes keeping things simple and easily explained is best.

The author seemed to attempt the same approach with keeping technology simple as well, but I fear she missed the mark on that one. With the way phones have progressed in our lifetimes alone, it's fascinating to consider what types of communication devices we'll be using in the future. In the beginning of the book Maya has a "camera ring" which she controlled with her earlobe and it could project who she's communicating with. She later gets a "box" that is also referred to as a "cube" ; it's described as a "cheaper projector you could order if you didn't have a projection ring". A little while later, someone is "chatting with a virtual projection from a box that was much better quality than the cheap recyclable one". There are also times the ring is used to project other things too. Similarly to a cell phone being used to pull up an image, but it was unclear how exactly it works.

It seems rings are akin to an iPhone and cubes are more like a flip phone (and then you could have a cheap one that was like a burner). It took a bit of flipping pages back and forth to come to these conclusions especially because at first the "cube" is referred to as a "box". This follows the same style of world building as the nodes, but unlike the nodes there are various forms of this type of communication and it causes things to be more complicated for no reason. Moreso, there's actually another form of communicative technology as well in the form of "ocular lenses". It's mentioned that there are feeds on these ocular lenses at one point and the characters get a notification on them. One can assume that they’re connected to some sort of network but they aren't used for any other communication - they're used for things like translating and scanning text. The technology didn’t seem to be important to the plot so it was unnecessary to add layers of complexity there.

Maya’s gift also had a layer of nonessential complexity. Her gift is first presented as an unwanted migraine. It's later explained as a vision. Of course both can be true and I almost wish they discussed that. It would've been interesting to consider it a gift and a curse - like she had to endure the pain of a migraine in order to receive the gift of visions. But for all intents and purposes, Maya doesn't seem to like her migraines (even the vision parts) whereas her Frenro friend Auncle seems to think they're a good thing. There are also moments where the gift comes in dreams. They’re referred to as "dreams of another time". My understanding is that the dreams and migraines are both visions but the dreams happen when she's asleep and the migraines happen when she's awake. It didn't seem like Maya considered the dreams good either though so the ability doesn’t feel like a positive thing to anyone except Auncle. It doesn’t help that the power is unveiled slowly and the reader isn’t given much information about it. I wish there was a better way to incorporate and reveal it because it is both fascinating and crucial to the plot. The author even mentions in their note at the end of the book that she has migraines herself and she references a book that is about migraineurs who can experience hallucinations and distortions of space, time, and body image.

Between the characters, the story, and the world, there is a lot to love about Yume Kitasei’s The Stardust Grail. Overall I really enjoyed the book and I would definitely recommend it to those interested in space, heists, and social commentary.

4.5 stars