Ever since Dark Horse announced their Tomb Raider comic, I've been eager to see what Gail Simone (Wonder Woman, The Movement, Welcome to Tranquility) has in store for our favorite heroine. As we get a bit closer to the impending release, the publishing house has bestowed a preview of the inaugural issue, and it's definitely compelling stuff. The first arc might see Lara not just dealing with the physical trauma from the events of the game, but also the mental if the preview is anything to go by. Also noteworthy is the delightful art by Nicolas Daniel Selma, and I can't wait to see more of his work. Check out the preview below and let us know what you think!
- 1/31/2014
- by Matthew Mueller
- GeekTyrant
It’S Black Friday! In the spirit of crass commercialism, I’m offering to you, in addition to my standard three reviews, a fourth review! That’s right, you get a whole extra review, for Free!
That is a horrible face you are making.
S.H.O.O.T. First #2
Writer: Justin Aclin
Artist: Nicolas Daniel Selma
Colors: Marlac
Publisher: Dark Horse Comics
Price: $4
I wish I didn’t feel quite as cynical as I do about the premise of this book, because I’m worried my cynicism might be skewing how I feel about it as a whole. But I’m also not sure I should be second guessing my instincts; if the comic did something genuinely assuage those feelings, I like to think I’d respond appropriately.
The story of S.H.O.O.T. First is a bit tedious, in this, the second issue. The big twist...
That is a horrible face you are making.
S.H.O.O.T. First #2
Writer: Justin Aclin
Artist: Nicolas Daniel Selma
Colors: Marlac
Publisher: Dark Horse Comics
Price: $4
I wish I didn’t feel quite as cynical as I do about the premise of this book, because I’m worried my cynicism might be skewing how I feel about it as a whole. But I’m also not sure I should be second guessing my instincts; if the comic did something genuinely assuage those feelings, I like to think I’d respond appropriately.
The story of S.H.O.O.T. First is a bit tedious, in this, the second issue. The big twist...
- 11/30/2013
- by Chris Melkus
- Destroy the Brain
Well, I did it again; I made you wait two weeks before getting you a column. Last time this happened, you threatened me with a machete (or was it a straight razor? You think I would remember these things) but I promised it would never happen again. I only have myself to blame. I’ve failed you. I deserve to die. Just, do me a favor, all right? One last dying wish? Just, look… I don’t mean to embarrass you but… couldn’t you at least give me an upgrade? What I’m saying is that I just don’t think that wimpy little kitchen knife is how you Really want to do this. If you’d just use your imagination, I’m sure we’d both get a much more satisfying result out of my grisly demise, know what I’m saying?
I know you’ve already got plenty of ideas but,...
I know you’ve already got plenty of ideas but,...
- 10/31/2013
- by Chris Melkus
- Destroy the Brain
Justin Aclin and Nicolas Daniel Selma take aim at the supernatural in S.H.O.O.T. First, an all-new big-action, big-ideas creator-owned mini-series from Dark Horse Comics coming this fall.
Synopsis:
The Secular Humanist Occult Obliteration Taskforce uses the power of their own disbelief (as filtered through sci-fi weaponry) to protect humanity from supernatural creatures that seek to do us harm… but for S.H.O.O.T. that means demons, angels, and everything in-between.
Original, irreverent, and sure-to-be controversial - S.H.O.O.T. First promises sci-fi action in the Dark Horse tradition with a bold new twist!
"S.H.O.O.T. First is the most personal story and the most epic story I've ever written. It's about how we deal with the loss of faith; plus it's got crazy sci-fi action and a robot arm-wrestling a demon,” says writer Justin Aclin (Star Wars: The Clone Wars,...
Synopsis:
The Secular Humanist Occult Obliteration Taskforce uses the power of their own disbelief (as filtered through sci-fi weaponry) to protect humanity from supernatural creatures that seek to do us harm… but for S.H.O.O.T. that means demons, angels, and everything in-between.
Original, irreverent, and sure-to-be controversial - S.H.O.O.T. First promises sci-fi action in the Dark Horse tradition with a bold new twist!
"S.H.O.O.T. First is the most personal story and the most epic story I've ever written. It's about how we deal with the loss of faith; plus it's got crazy sci-fi action and a robot arm-wrestling a demon,” says writer Justin Aclin (Star Wars: The Clone Wars,...
- 7/3/2013
- by The Woman In Black
- DreadCentral.com
We're about a month away from the release of the new Tomb Raider video game and if you haven't pre-ordered your copy, this might make you change your mind. Below you'll find an excerpt from the the Dark Horse comic Tomb Raider: The Beginning (via their official Facebook page ) The only way you can get this comic for the time being is to pre-order the game (which you can do by clicking here ). Tomb Raider: The Beginning is written by Rhianna Pratchett with interior art by Andrea Mutti and Nicolas Daniel Selma. Tomb Raider explores the intense and gritty origin story of Lara Croft and her ascent from a frightened young woman to a hardened survivor. Armed only with raw instincts and the ability to push beyond the limits of human endurance, Lara must...
- 1/31/2013
- Comingsoon.net
A judge in Buenos Aires falls from the roof of the courthouse to his death and a beautiful young woman is stabbed 15 times, leaving a bloody corpse. The two events are connected, or maybe not, and a nervous female judge tries to navigate the treacherous path to truth and justice in "Ashes From Paradise".
Unspooled recently at the Nortel Palm Springs International Film Festival, Argentina's Oscar submission is unlikely to garner a nomination and, despite an attractive cast and intriguing scenario, it's a hard sell to domestic foreign-film audiences. The latest from director Marcelo Pineyro ("Wild Horses") is a sexy programmer for fests, however, and select-site runs are a possibility.
Co-written by Pineyro and Aida Bortnik (a 1985 Oscar nominee, along with co-writer Luis Puenza, for the original screenplay of "The Official Story"), "Ashes" is a murder mystery with two victims and at least three suspects. The twist is that the three are brothers, and all claim to have wielded the knife that snuffed out rich girl Ana (Leticia Bredice).
You want coincidences? Pablo (Leonardo Sbaraglia), Nicolas Daniel Kuzniecka) and Alejandro (Nicolas Abeles) are the sons of Judge Makantasis (Hector Alterio), whose investigation of Ana's underworld father is most likely what got him killed. Did the brothers kill her for revenge?
With her career and possibly life on the line, Judge Teller (Cecilia Roth) tries to determine which, if any, of the brothers is telling the truth and how her dead colleague fits in with the puzzle. The stories of all involved unfold in long flashbacks with a novelistic structure.
Alas, there's so much ground to cover -- from Ana's lusty couplings with both Alejandro and Nicolas to the maneuverings and personal revelations of Judge Teller -- that the film drags on too long, until it swiftly reaches a resolution and most of the loose ends are tied up. In the process, one is entertained by the performances but not totally involved with the many major and minor characters.
ASHES FROM PARADISE
Patagoni Film Group, Artear Argentina,
Buena Vista International Film Prods.
Director: Marcelo Pineyro
Executive producers: Ricardo Wullicher,
Pablo Bossi
Screenwriters: Aida Bortnik, Marcelo Pineyro
Production designer: Jorge Ferrari
Director of photography: Alfredo Mayo
Music: Osvaldo Montes
Editing: Juan Carlos Macias
Color/stereo
Cast:
Judge Costa Makantasis: Hector Alterio
Judge Dr. Beatriz Teller: Cecilia Roth
Pablo: Leonardo Sbaraglia
Nicolas: Daniel Kuzniecka
Ana: Leticia Bredice
Alejandro: Nicolas Abeles
Running time -- 127 minutes
No MPAA rating...
Unspooled recently at the Nortel Palm Springs International Film Festival, Argentina's Oscar submission is unlikely to garner a nomination and, despite an attractive cast and intriguing scenario, it's a hard sell to domestic foreign-film audiences. The latest from director Marcelo Pineyro ("Wild Horses") is a sexy programmer for fests, however, and select-site runs are a possibility.
Co-written by Pineyro and Aida Bortnik (a 1985 Oscar nominee, along with co-writer Luis Puenza, for the original screenplay of "The Official Story"), "Ashes" is a murder mystery with two victims and at least three suspects. The twist is that the three are brothers, and all claim to have wielded the knife that snuffed out rich girl Ana (Leticia Bredice).
You want coincidences? Pablo (Leonardo Sbaraglia), Nicolas Daniel Kuzniecka) and Alejandro (Nicolas Abeles) are the sons of Judge Makantasis (Hector Alterio), whose investigation of Ana's underworld father is most likely what got him killed. Did the brothers kill her for revenge?
With her career and possibly life on the line, Judge Teller (Cecilia Roth) tries to determine which, if any, of the brothers is telling the truth and how her dead colleague fits in with the puzzle. The stories of all involved unfold in long flashbacks with a novelistic structure.
Alas, there's so much ground to cover -- from Ana's lusty couplings with both Alejandro and Nicolas to the maneuverings and personal revelations of Judge Teller -- that the film drags on too long, until it swiftly reaches a resolution and most of the loose ends are tied up. In the process, one is entertained by the performances but not totally involved with the many major and minor characters.
ASHES FROM PARADISE
Patagoni Film Group, Artear Argentina,
Buena Vista International Film Prods.
Director: Marcelo Pineyro
Executive producers: Ricardo Wullicher,
Pablo Bossi
Screenwriters: Aida Bortnik, Marcelo Pineyro
Production designer: Jorge Ferrari
Director of photography: Alfredo Mayo
Music: Osvaldo Montes
Editing: Juan Carlos Macias
Color/stereo
Cast:
Judge Costa Makantasis: Hector Alterio
Judge Dr. Beatriz Teller: Cecilia Roth
Pablo: Leonardo Sbaraglia
Nicolas: Daniel Kuzniecka
Ana: Leticia Bredice
Alejandro: Nicolas Abeles
Running time -- 127 minutes
No MPAA rating...
Arturo Ripstein's Spanish-language Mexican film is based on the same true story that inspired the film "The Honeymoon Killers", and it provides a similar blend of black humor and horror.
"Deep Crimson" is, if it can be imagined, an even more uncompromising and outrageous take on the story than that 1970 cult favorite, and its stronger elements may turn off even audiences that have become hardened by innumerable serial killer tales. It opened commercially this week at New York's Film Forum after being showcased at the New York Film Festival.
Set in 1949, "Deep Crimson" tells the tale of the unholy alliance between two utterly repugnant characters. Coral (Regina Orozco) is an obese nurse with two small children, and Nicolas Daniel Gimenez Cacho) is a balding Lothario who styles himself after Charles Boyer and cons unsuspecting, love-starved women.
When Coral answers one of Nicolas' personal ads and the two meet, he steals her money and sneaks out of her house after a night of lovemaking. Rather than being disheartened, she abandons her children and pursues him. They decide to operate as a team, posing as brother and sister so Nicolas can seduce and rob their victims. The problem is that Coral starts to become insanely jealous and soon adds murder to their list of activities.
The film's entire cast of characters, from murderers to victims, is as grotesque a lot as can be imagined, and director Ripstein garners as much comic mileage from them as possible. Gradually, though, he intensifies the proceedings, and a final double-murder of a sympathetic young woman and her young child is presented in a brutally horrific fashion that undercuts the audience's expectations.
"Deep Crimson" is a deeply unsettling film that ultimately lacks the depth or perspective to make its repugnant subject matter palatable. Ripstein does, however, have a true sense of style; he has expertly shot the film in muddy, brownish colors that provide further alienation from the proceedings. And he has garnered superb performances from the cast, particularly the leads, who create two of the more memorable villains in recent history.
DEEP CRIMSON
New Yorker Films
Director Arturo Ripstein
Screenplay Paz Alicia Garciadiego
Producers Miguel Necoechea,
Paolo Barbachano
Co-producers Marin Karmitz,
Jose Maria Morales, Fernando Sarinana
Executive producer Tita Lombardo
Director of photography Guillermo Granillo
Editor Rafael Castanedo
Music David Mansfield
Color/stereo
Cast:
Coral Fabre Regina Orozco
Nicolas Estrella Daniel Gimenez Cacho
Irene Gallardo Marisa Paredes
The Widow Ruelas Patricia Reyes Espindola
Julieta Egurrola Juanita Norton
Running time -- 109 minutes
No MPAA rating...
"Deep Crimson" is, if it can be imagined, an even more uncompromising and outrageous take on the story than that 1970 cult favorite, and its stronger elements may turn off even audiences that have become hardened by innumerable serial killer tales. It opened commercially this week at New York's Film Forum after being showcased at the New York Film Festival.
Set in 1949, "Deep Crimson" tells the tale of the unholy alliance between two utterly repugnant characters. Coral (Regina Orozco) is an obese nurse with two small children, and Nicolas Daniel Gimenez Cacho) is a balding Lothario who styles himself after Charles Boyer and cons unsuspecting, love-starved women.
When Coral answers one of Nicolas' personal ads and the two meet, he steals her money and sneaks out of her house after a night of lovemaking. Rather than being disheartened, she abandons her children and pursues him. They decide to operate as a team, posing as brother and sister so Nicolas can seduce and rob their victims. The problem is that Coral starts to become insanely jealous and soon adds murder to their list of activities.
The film's entire cast of characters, from murderers to victims, is as grotesque a lot as can be imagined, and director Ripstein garners as much comic mileage from them as possible. Gradually, though, he intensifies the proceedings, and a final double-murder of a sympathetic young woman and her young child is presented in a brutally horrific fashion that undercuts the audience's expectations.
"Deep Crimson" is a deeply unsettling film that ultimately lacks the depth or perspective to make its repugnant subject matter palatable. Ripstein does, however, have a true sense of style; he has expertly shot the film in muddy, brownish colors that provide further alienation from the proceedings. And he has garnered superb performances from the cast, particularly the leads, who create two of the more memorable villains in recent history.
DEEP CRIMSON
New Yorker Films
Director Arturo Ripstein
Screenplay Paz Alicia Garciadiego
Producers Miguel Necoechea,
Paolo Barbachano
Co-producers Marin Karmitz,
Jose Maria Morales, Fernando Sarinana
Executive producer Tita Lombardo
Director of photography Guillermo Granillo
Editor Rafael Castanedo
Music David Mansfield
Color/stereo
Cast:
Coral Fabre Regina Orozco
Nicolas Estrella Daniel Gimenez Cacho
Irene Gallardo Marisa Paredes
The Widow Ruelas Patricia Reyes Espindola
Julieta Egurrola Juanita Norton
Running time -- 109 minutes
No MPAA rating...
- 10/10/1997
- The Hollywood Reporter - Movie News
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