Terminator: Dark Fate (dir. Tim Miller, 2019) – A newly modified Terminator hunts down Dani Ramos, whose survival may just depend on a cyborg from the future and a familiar saviour.
Should Genisys have been the final nail in the coffin, fans would have revelled. But that would only be gravely underestimating the resilience of the T-800, who has over and again promised us otherwise. And so The Terminator is back once more in Dark Fate, which wisely ignores the subpar Rise of the Machines, mildly entertaining Salvation, and the unwatchable Genisys.
For a while, the supposed threequel looks promising. James Cameron’s best works will finally get their due proper end… Or so we were led to believe. Instead, T1 and T2 proved to be for naught as the Terminator succeeds in killing off John Connor, right in the very first act. Easily. Without so much as a scuffle. Just like that, the arduous journey of Sarah and Kyle Reese comes to mean nothing in this new, altered timeline.
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The Long and Faraway Gone (Lou Berney, 2015) – Haunted by their past, two survivors of unresolved cases continue their search for closure twenty five years on.
Death is harder on the ones left behind. Two decades could not erase their pain, as two survivors continue their search for elusive answers, unknowingly falling back into the past at the great cost of the present.
A powerfully written novel, The Long and Faraway Gone is about guilt and grief in the aftermath of unexpected tragedies. Author Lou Berney puts us in the ragged souls of the ones left behind, such that we long for the answers as much as they do.
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In the Shadow of the Moon (dir. Jim Mickle, 2019) – Officer Thomas Lockhart spends decades tracking down a mysterious serial killer, who resurfaces every nine years.
In 1988, several strangers die gruesome deaths across the country at the same time, and the police are no closer to a motive. That is until one victim’s dying words points to an unidentified suspect – a young black woman in a hoodie (Cleopatra Coleman).
Officers Lockhart (Boyd Holbrook) and Maddox (Bokeem Woodbine) manage to track down the alleged serial killer at the train station, only to witness her fatal accident. Not before she calls Lockhart by name and predicts the birth of his daughter.
The incident, followed by the shock of his personal tragedy, sends him spiralling down a dark rabbit hole as he goes on an obsessive hunt for elusive answers. A glimmer of hope comes in the return of the killer nine years later, alive and unaged.
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October is coming to an end. It is time to retire This is Halloween and Monster Mash from your Halloween playlists this year, for fresher tracks on monsters, ghouls, sharp knives, and loaded guns. Life’s no fun without a good scare and duller still, without good music. Have fun with these six horror-inspired picks from the 2000s. Do share your own recommendations below. x
American Murder Song – Jenny Was A Friend of Mine
Not enough people have seen Darren Smith and Terrance Zdunich’s Repo! The Genetic Opera, which deserved more love than it received. The passion project has since paved way for other equally underrated ventures, such as American Murder Song. This murder ballad collection is the brainchild of Zdunich and his co-writer of The Devil’s Carnival Saar Hendelman. Therein lies an excellent cover of Jenny Was a Friend of Mine, originally by… The Killers. (Sorry)
We took a walk that night
But it wasn’t the same
We had a fight on the promenade
Out in the rain
She said she loved me
But she had somewhere to go
She couldn’t scream while I held her close
I swore I’d never let her go
Continue reading “Music Recs #13: Happy Halloween”
Midsommar (dir. Ari Aster, 2019) – A visit to Swedish village’s midsummer festival gradually devolves into a series of chilling rituals.
Dani (Florence Pugh) is in a bad place. She has just lost her whole family to a horrific murder-suicide, and the only relationship she has left is with her estranged boyfriend Christian (Jack Reynor). She holds fast to the tenuous connection for fear of being alone, joining him and his friends on their midsummer vacation in Sweden.
There, Christian’s friends make clear their disdain for her presence, adding to Dani’s grief. Her anxiety heightens as she tries to hide it. But her emotional dependence on an unappreciative partner leaves her visibly vulnerable, as though without him, she may fall.
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