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The latest part of our Into the Hickmanverse series by wrapping up his Fantastic Four run. This covers both Fantastic Four and FF (Future Foundation).

We kick everything off with the new series, FF as well as some new uniforms for Marvel's first family. Also, Spider-Man comes in to fill in the spot left by Johnny. Things really take off here. First on the list of things for the Future Foundation to do: Solve the issue of Doom's diminished intelligence. The next thing? Get some of the Fantastic Four's most intelligent enemies and have them come together to do one thing: Defeat Reed Richards. Since there are now 4 other Reeds from other universes running around thanks to lil ole Val.

As the series goes on Hickman starts to reveal what's really going on and why future Val & Franklin are manipulating the past. It all comes down to buying 27 minutes to align everything perfectly to save the universe. And at the heart of that is Doom standing against mad Celestials. 

Hickman's run ends with him laying the groundwork for his big event (Time Runs Out/Secret Wars) that is still a few series away. We get the returning of Black Bolt and the Inhumans to earth as well as the bonding of Reed Richards and T'Challa. These have big impacts later on in the New Avengers run when these three link back up as members of the Illuminati that's trying to stop the incursions. 

But before we get into all that, we need to take a trip over to the Ultimate universe where Hickman apparently took a look and said "Here I can build".

Issues:

* FF Volume 1

* FF #1 - #5

* FF Volume 2

* FF #6 - #11

* Story alternates between FF & Fantastic Four going forward

* Fantastic Four #600

* FF #12

* Fantastic Four #601

* FF #13

* Fantastic Four #602

* FF #14

* Fantastic Four #603

* FF #15

* Fantastic Four #604

* FF #16

* Fantastic Four #605 & #606

* FF #17 & #18

* Fantastic Four #607 & #608

* FF #19 - #21

* Fantastic Four #609 to #610

* FF #22

* Fantastic Four #611

* FF #23

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The first reaction to Halloween Kills, the sequel to 2018 Halloween, is "What the Hell happened?" The 2018 film felt like a fitting end for Michael Meyers and Jamie Lee Curtis' Laurie Strode. In that 2018 film, we watched Laurie take the fight to Michael and it was actually pretty enjoyable. Halloween Kills is a far cry from that film. It's so bad it leaves you wondering if the same crew that made the first film made this one. Surprisingly, the answer is "yes". David Gordon Greene is back as director as are the same writers (Scott Teams and Danny McBride). So what the hell happened? Why did this film fall so far off from what they originally did?

The biggest thing that doesn't work for this film is that it sidelines the best thing about the first film. Jamie Lee Curtis was great in the first film. In this film she doesn't share a single scene with her nemesis Michael Meyers. She doesn't die, she's just not used in any scenes with him. That is a bit of a spoiler but after seeing the trailers and promotion for this film, it feels like false advertisement and needs to be called out. Instead of focusing on Strode the film decides to bring in a bunch of other characters from previous films or encounters with Meyers and turn them into a militia that goes after Meyers. While that seems like a plot point that could be interesting, it falls flat for a couple of reasons. 

First, it feels forced. Anthony Michael Hall plays an adult Tommy Doyle. Tommy has an obsession with taking down Michael but he thinks he's going to do it with a handful of random folks with a baseball bat. Why on earth would Tommy think a baseball bat is going to stop Michael Meyers? It just feels like the film wanted to say "See, we're connecting it all back to the original series" but didn't care how or why or even if they should. The second issue is that the film seems like it's trying to make a larger commentary on mob mentality but it does a piss poor job at it. 

On a positive (maybe the only one), the kills are gory. But they're also boring. Yes, Michael Meyers is a force of nature that is going too plow through people. But Halloween Kills feels like that was the only trick they had up their sleeve and it overplayed it. At some point it felt like watching an old school horror film where you're watching not because it's scary but because the characters are so dumb they deserve to die. 

This film ends with the clear indication that they want to make another one. But it really doesn't deserve to continue. Yet that's the history of the Halloween films and the curse of Michael Meyers. Even when they should die, they just pop back up and continue on.

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We're back with a new season oof Legends of Tomorrow. If it feels like season 6 just ended, it's because it literally ended last month. And the show picks up like we never left. The Legends are stuck in the 1920's with no Waverider or Time Bureau technology. So what do the Legends do? First they start pretending like they're part of the circus to explain the alien invasion. Then they set off on a crime spree as bank robbers on their way to New York to try to find a professor that could help them with time travel. Oh and they accidentally kill J Edgar Hoover on the way. This season is off to the typical Legends start. 

Also what makes this show work is how they're able to integrate new characters and keep everything fresh. Sara is the last of the original Legends but the crew still feels like the Legends, even with the new members. Everyone has a role to fill and play and it all works so well.

Kriss and Dpalm record the Mailbag at the end of every month. If you want to send in your own questions and thoughts, email us: [email protected]

 

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Welcome back to the number 1 MLB Playoff Podcast! Just kidding, but we do talk just about everything else during this show - Fury/Wilder, WNBA Finals, Urban, Gruden, The NWSL, and all that there college football. Plus, NBA over/unders, and if you think that I've ever lost my gimmick on MY show, you're nuts.

Guest: The Homie Mike

 

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If Saloum is an example of what we can expect from new distributor Lacmé Studios and director Jean Luc Herbulot, then the future is very bright for what we might be seeing coming out of African cinema over the next few years. Clocking in at only 84 minutes, Saloum is able to tell a compelling story that covers several different themes while also being interesting and entertaining story. Usually when a film is trying to do so much and has such a dramatic turn, it loses what it’s trying to say and confuses the audience. Either that or it just runs out of time to fully flesh out the story. 

In the beginning this film has the same feel as a spaghetti western or samurai film. It follows three mercenaries that you don’t know much about and are unsure if they’re bad guys or good guys. The one thing that is certain is that they have a very close bond. It’s almost like they’re antihero Three Musketeers. The audience is given just enough about each of them to know what their role in the group dynamic is. What does become clear is that their leader Chaka (Yann Gael) is hiding something and that something might get them all in deeper trouble.

What’s really fun about Saloum is the turn at the back third of this film. It’s reminiscent of the turn in From Dusk Till Dawn. The film turns into a horror film based on the lore of the region that works very well. What’s impressive is how the film is able to weave this in without feeling rushed or forced. In fact the turn actually fits in very well with the saying at the very beginning of the film “Revenge is like a river whose bottom is reached only when we drown.”

Saloum is definitely something to checkout as is anything else coming out of Lacmé Studios.

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Something super strange is afoot; for the first time since I was child, there's real competition in the world of professional wrestling. This week, the internet's favorite...or least favorite tweeter Cam is here to talk all things rasslin, and to preview AEW's most recent crowning achievement - Grand Slam.

Guest: Cameron Hawkins - @CeeHawk

 

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Out of Sync tells a compelling story story about a woman that finds herself slowly falling out of sync with the world both mentally and physically. It’s a good story about how a person can feel their world closing down around them but not realize that those close to them love and support them if they would accept the help. 

Marta Nieto does a great job playing the unnamed lead character as detached from those around her and standoffish. She plays a sound editor whose personal life is a mess (her ex & his wife need her to vacate the apartment she’s in) and realizes that her hearing is falling out of sync. Add to that her mother has a secret about her upbringing that could be the key to what’s happening to her. What's really great about this film is that the characters you would expect to be terrible and mean, aren't. The main character thinks no one really cares about her but the opposite is revealed. She has plenty of people that care about her if she lets them. Instead she's purposely cut herself off from the world and that's led to this situation where she's now completely falling out of sync.

The sound editing in Out of Sync is outstanding. As the lead character falls more and more out of sync with the world, the delay in sound becomes more pronounce. It starts off subtly with the sound being just off slightly. Then the delay becomes longer and longer. It adds to some great moments in the film. Usually having a film being out of sync, isn't a desired effect but in this case it really does work. And honestly in some scenes it really takes some skill.

Out of Sync isn't the film for everyone but it's definitely worth checking out. The subtitles in the film actually help, especially with the delay in some oof the audio. If you can sit through that, then this will be right up your alley.

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How would society react if people started getting predictions that they were set to die and be bound to Hell that came true? That’s the basis for Hellbound. And the first episode opens up showing just how serious it can be. Giant smoke “Hulks” show up and chase a man out of a coffee shop and then beat him to death in the middle of a busy street. Then they perform some kind of “ritual” that leaves only a smoking pile of ash behind. This intense scene happens before the credits even roll and does a good job of setting the stage for the rest of the first 3 episodes. 

Hellbound uses the supernatural as a method to tell a story about how society reacts to events that they don’t really understand. Considering what we’ve been dealing with when it comes to COVID and a global pandemic, it comes off as very relevant. First, there’s how religion is used to try to find meaning in things that are happening. There’s a cult in this series that tries really hard to act like they’re not a cult but is clearly a cult. Hellbound uses the idea of “sin” to try to explain away how these things are happening. Obviously if people are being bound to Hell, then clearly they deserve it. There must be a reason for it and so there becomes a national interest in finding out what secrets these people are hiding. 

The first three episodes unfold in a way that really suck the audience in. There are moments that almost feel like cliffhangers but aren't even the end of the episode. As things start to get revealed, more questions come up. The third episode really starts to show what's really going on and could even be a good ending if this was a film and not a series.

A Netflix release date for Hellbound hasn't been given yet but when it does, it is definitely worth checking out.

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The Guilty is one of those films that feels like actually benefited from COVID restrictions. Any other time and this film would have gone too far into showing us car chases and big set pieces. Even worse, it would have turned this film into a cop propaganda film that happens so often when a police officer that is clearly unhinged is somehow made into a hero. Instead what we got was an intense thriller that plays on the concept of police jumping to conclusions and how that can lead to dangerous situations.

There are several things that really work for The Guilty. First and foremost is Jake Gyllenhaal. Gyllenhaal might be one of the latest set of celebrities to dry snitch on themselves when it come to their questionable hygiene habits but the man can still act his ass off. Playing demoted and clearly troubled officer Joe Bailey, Gyllenhaal captures completely frantic and out of control nature of a police officer that should never have a badge and a gun. Intensity is something Gyllenhaal always brings to his characters and his Joe Bailey really channels his Louis Bloom character from 2014's Nightcrawler. He's very unlikable and clearly shouldn't be working dispatch much less being a cop with a badge. But he also serves as a great vantage point for how dangerous it is for cops to try too hard to dictate situations and jump to conclusions when they don't have all the facts.

The rest of the cast is also well suited for this film. Most are not visibly seen (due to Covid restrictions) but still do a great job helping to bring the story together. Da'Vine Joy Randolph plays a CHP dispatcher who routinely reminds Officer Bailey he doesn't have the authority to tell her or anyone else how to do their job. Its a much needed performance that serves in contrast to Bailey's ego and need to play supercop. Peter Sarsgaard and Riley Keough also give great performances that help drive the level of urgency in the film. Also, like Randolph, they do a great job playing off of Gyllenhaal and help enhance his performance since all of their interactions happen through the phone. This is a huge reason why this film works so well.

Usually films do better when they “show instead of tell” you what’s happening. However, in The Guilty, hearing what’s happening without actually seeing it works to the film’s advantage. It puts the audience right there in the seat with Officer Bailey with a  little sense of hopelessness because just like him, there’s nothing you can do but sit and wait for someone to explain what happened. this increases the tension in the film and really draws the audience in. It also makes the film feel like there are real stakes. More importantly though, it shows how context matters and that when you’re only one the receiving end of information, it's easy to jump to conclusions that could have devastating consequences.

The Guilty has suspense, tension and a sense of urgency that all make this a film worth checking out. Even better, it also shows how the “super cop” on the police force isn’t a good thing for public safety and doesn’t shy away from it. 

The Guilty will release in select in select theaters on September 24 and on Netflix October 1.

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Season 6 of Legends of Tomorrow was great. Particularly the final run of episodes. Its weird to say this about an episode where Mick becomes the father of alien-human squid babies, a giant alien mushroom protecting the earth from alien invasion, John dying and becoming a mushroom (and more ridiculousness) but this was probably the least ridiculous Legends finale we've seen. Part of that is because this season did a really good job of tying all the themes together. Especially with Spooner. She was a bit annoying for most of the season but the show did a great job pairing her with Astra the last few episodes really worked. Also the reveal about her origin and mother also worked well. 

This was also the best send off for two Legends. First, it was nice to see Mick settle down and complete his arc. The moment with him and Sara sharing a beer and reflecting on their time was a good reminder of how far they've come. Then there was John. Still the bastard he's always been. It also leaves the door open for him to return. Or even better, for him to end up in a live action movie. There really is no need to find another John Constantine.

Overall we really loved this season and look forward to the new season starting next month.

Kriss and Dpalm record the Mailbag at the end of every month. If you want to send in your own questions and thoughts, email us: [email protected]

 

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