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Movie Review: Pan’s Labyrinth

I’m really not sure where to begin with this. If I were still doing IT CAME FROM NETFLIX! I may just lead with a few moments of silence. Powerful films have a way of taking the breath, the very words right out of me. Make no mistake: Pan’s Labyrinth is one of those films.

Courtesy Estudio Picasso

The year is 1944, and Spain is under new management by the fascist Francisco Franco. At a forward post established against guerrillas fighting the new regime, Captain Vidal has summoned his wife and step-daughter to stay with him. His wife, Carmen, is close to giving birth to his son, while the girl, Ofelia, would rather keep her nose in her fairy tale books. En route to the post, Ofelia happens across a strange insect that transforms before her eyes and leads her to a secluded labyrinth where a faun tells her she may be a legendary princess. To prove herself worthy of her birthright, she must accomplish a series of tasks, in the midst of this bloody civil war, with the lives of all she knows and holds dear hanging in the balance.

Writer-director Guillermo del Toro is no stranger to dark fantasy. He brought us Blade II (one of the good ones) and both Hellboy films. By ‘dark’, I don’t mean the sort of dark fantasy where there’s lots of naked women and cursing and gratuitous buckets of blood. No, I mean thematically dark. Truly dark. The sort of dark that has kids curling up tight in their beds with their sheets pulled up to just under their eyes, because they’re scared witless by what’s in the shadows but don’t dare look away. You could even call it ‘edgy’, as it lives on the very edge between fantasy and horror. Pan’s Labyrinth is unafraid to glance, just for a moment here and a heartbeat there, into the deep shadows of the realms of the unknown and the very real darkness in human nature.

Courtesy Estudio Picasso
Absolutely stunning visuals.

You can’t tell a story like this without good characters, and in film you need good actors to make them come alive. In the hands of a less adept director, Captain Vidal would come across as a caricature of the fascist movement, a Nazi in all but name, not so much a man as he is a punching bag leering at us to hit him harder. Thankfully, the character is written with complexity and depth, even if he’s a rather vile human being, and Sergi López gives a fantastic performance. As for Ofelia, del Toro was so impressed by Ivana Baquero that he aged up her part so the young actress could play it. She, too, is complex and deep, as well as fallible.

Here are two human beings who come at life from entirely different angles, even in some cases wanting the same thing for completely disparate reasons, and their conviction is what drives this story forward and holds us mesmerized by it. The visuals and the construction of del Toro’s fantasy world don’t hurt, either. Culled from all sorts of fairy and folk tales, the world Ofelia alone can see, touch, and enter is brought to breathtaking life, with del Toro mainstay Doug Jones playing the parts of the Faun and the Pale Man. As wondrous as it is, there’s also a primal and untamed nature to it, as as attractive as it might be to a young girl, one wonders if it’s any less dangerous than the cold, jackbooted reality through which her stepfather reigns as nominal master.

Courtesy Estudio Picasso
My skin crawls just looking at the guy.

The tendency is to write something like “I can’t say enough about this” but I really feel, in this case, I can’t say any more about it. You should really just watch it, if you haven’t already. Despite its fairy tale trappings, it’s an exceedingly mature and heart-wrenchingly vital tale, far removed from what most would consider kid-friendly. Don’t be put off by the choice del Toro made to shoot it in Spanish; the truths of this film and the lives of its characters transcend things like spoken language. It is one of the most deeply affecting films I’ve seen in a very long time. I really cannot recommend Pan’s Labyrinth highly enough.

Wordbender: On Aang and the Water Tribe

Courtesy Nickelodeon

My wife and I have finally gotten around to watching Avatar: the Last Airbender. I put myself through watching the film adaptation and saw lots of potential for storytelling underneath the surface. I was a bit thrown by the odd juxtaposition of breathtaking martial arts augmented with special effects and some dreadfully bland exposition crammed into stilted dialog. I knew hand-drawn animation could still look impressive, and with more breathing room, I hoped the characters would develop more naturally as the story grew through their actions.

Having seen the first ‘book’ of the series, I can see why it has so many fans.

For a show on a children’s network, Avatar deals with some pretty heavy themes. It begins with a world that’s been at war for 100 years, not a light and rosy prospect on its own. Then, before you know it, the show’s writers are bringing up things like genocide, sexism, and parenting bordering on abusive. With so many heavy themes weaving into and out of the ongoing narrative, your central characters need to be natural and dynamic, people to whom the audience can relate and as human as possible.

Thankfully, for Book 1 at least, this is the case. Aang, despite being a youngster, is a very solid lead for this show. While precocious and not always focused on the task at hand, his natural abilities and easy-going charm smooth over a lot of his rough patches. When things become serious, he never goes too over the top with his reactions. Indeed, more than once he’s shown to possess a rather quiet fury, the mark of a mature warrior-monk with true goodness in his heart and a willingness to fight for his friends and what he believes in.

His friends, at least the two other children that discover him, balance his personality well. Kitara is supportive while Sokka is critical; the sister concerns herself with spiritual matters, and the brother is more of a tactile, even scientific sort. Together they introduce Aang (and us) to their world as it is now, and ensure that the young Avatar has companions other than his small lemur and titanic flying bison.

While Team Avatar is well-balanced and well-presented, it can be difficult to really feel deep empathy or connections to them. Their stories, while well-told, are not terribly complex. Perhaps this is due to the characters of the Fire Nation, specifically Zuko and Iroh, having much more checkered pasts that are mostly hinted at over the course of the Book. Iroh in particular is something a jovial mystery, and when we see some of the decisions Zuko makes as the series continues, he reveals more and more layers that indicate he’s far more than a typical villain with a grudge.

The use of real martial arts in the animations for bending not only make the actions stand out but also underscore the essence of each element. For water, Tai Chi was used as a pattern. The graceful, largely peaceful motions lend themselves naturally to the flow and ebb of the water Kitara, Aang, and others manipulate, and are a stark contrast to the aggressive motions of Northern Shaolin used by firebenders.

More to come, as Book 1 is now closed and Book 2 awaits…

Flash Fiction: Benjamin Franklin in the Bermuda Triangle

Couretsy Fist Full of Seamen

For the Terribleminds request for pulp insanity, we return to the adventures of a revolutionary wizard.


The lingering storm clouds made way for the moon, and that was when it began.

The crew of the fluyt Eenhoorn lit lamps on-deck to throw back the darkness. The ocean nearby rippled and swooned, small waves crashing over one another. To Captain Kroeger, the phenomenon was entirely unnatural. He gave the wheel to his first mate, passed a deckhand being sick over the rail, and went into the cabin where their passenger sat, reading.

“Mister Franklin, we need you on deck.”

The American looked up over the rims of his spectacles.

“I take it the storm has ended?”

“Yes. But something else has begun.”

Franklin put his book aside and rose. He picked up a collapsing umbrella from his belongings and ventured out with the captain. He took one look at the swirling waters nearby and frowned.

“Captain, you may want to have your men man their battle stations.”

“Sir?”

“We passed Bermuda this morning, correct? And are taking a southern course?”

“Yes, but…”

“Then we are in dangerous waters.”

“We spotted no other ships nearby! Neither the English nor the Spanish are…”

The roar of the sea in upheaval drowned out the captain. From the swirling pool burst the prow of a ship. Its hull rose into the moonlight like a breaching whale, its masts hung with seaweed instead of sails and tackle. Kroeger’s breath caught in his throat when he beheld the opposing crew. They shambled rather than walked, in various states of decay, many an eye missing from its socket and those still intact smoldering with murderous intent.

“Battle stations! Run out the guns! Prepare to repel boarders!”

Benjamin Franklin furrowed his brow as he studied the enemy ship. Any colors it would have flown had long been consumed by the wildlife beneath them. Sliding the long umbrella into his belt, he climbed the rigging towards the crow’s nest. The Eenhoorn reeled under the superior firepower of the enemy vessel, despite said vessel’s cannon having been underwater moments before. Franklin nearly lost his grip more than once, but he refused to let go completely, gritting his teeth against the spray of the sea and the smell of battle. He alighted into the crow’s nest and took stock of the situation.

The enemy ship was closing in on the Eenhoorn. The half-eaten ambulatory corpses and oddly animated skeletons moved towards the railing closest to the fluyt, wielding grappling lines. Franklin knew it was now or never. He reached down the front of his shirt for the key that hung around his neck. When he freed it from the silver chain, it made his fingers tingle. He slid it around the top of the umbrella, opened the device, and held it above his head.

The storm clouds high above began to shudder and growl. Lights went off like cannon fire within the dark surfaces, and as Franklin pitched the umbrella towards the enemy ship, there was a momentary feeling that his hair was standing on end, his skin about to catch fire. A bolt of lightning snapped into existence, connecting the cloud to the umbrella as it sailed over the ghost ship. The steel spines of the device conveyed smaller bolts onto the ghost ship’s deck, catching a few of the undead crew on fire. A cheer went up from the Dutchmen as Franklin climbed back down.

“That was brilliant, Mister Franklin!”

“Thank you, Captain, but it only slowed them down. I need to find a more permanent solution, and I only brought the one umbrella with me. Hold them off as best you can. Excuse me.”

He grabbed his jar of salt from his belongings and made his way below decks, to the lowest point in the ship. He set a box down and carefully laid out the circle he’d need. Praying the Eenhoorn did not list too much, he touched the circle with both hands.

“Come up from your Locker,” he said. “Come up from your Locker, Come up from your Locker, Davy Jones, Davy Jones.”

The shadows in the bilge seem to grow longer, and in the circle, two saucer-like eyes appeared, blinking at Franklin.

“Ye be a bold soul to summon me, human.” Blue smoke wafted from the spirit’s nostrils. “Release me, and I’ll not drag your ship down to me Locker.”

“I will release you when you take back the ship attacking us.”

“Ye have no business at sea, Benjamin Franklin.”

“Shall we parley, then?”

There was an annoyed puff of blue smoke. “Go on.”

“My destination is Barbados. I have business there with a voudoun priestess.”

“I know of whom ye speak. She be a long way from home.”

“I want to offer her help. Perhaps bring her back to our colonies.”

“Two of ye at sea, then? I should indeed drag ye down now.”

“We will do no harm and work no further magic while at sea. You have my word.”

Jones reached up with a hand to stroke one of his horns. His tail swished in the dark.

“And what benefit be Davy Jones getting out of this bargain? I drown ye now, I’d have me no worries.”

“I wouldn’t go down without a fight. And if we fight, we draw the attention of ocean powers greater than you.”

Jones grinned, his eyes alight. Three rows of teeth glistened in the semi-darkness. “Ye’d lose, little wizard.”

“Maybe. But not before hurting you just in time for your king to arrive.”

The smile vanished. “Fine, then. I give ye safe passage to Barbados and back. But this not be something Davy Jones will forget, Benjamin Franklin.”

“Nor shall I.” Fingers broke the circle and the spirit was gone. He climbed through the decks to find the crew celebrating.

“The sea swallowed them up again!” Captain Kroeger slapped Benjamin on the back. “How did you do it?”

“The fine art of parley, captain. Now, let us get to Barbados with all possible speed. The less time we spend in these waters, the better.”

Rewrite Report: Insert Title Here

The Thinker

I once again find myself needing to admit: “Yeah, I got nothin’.”

As I’ve said before, not every brick that drops out of the sphincter of my mind is going to be a golden one. I spent most of my pre-commute hour staring at a blank screen trying to make words of meaning appear. They never did. It was a lackluster start to the final day of a rather disappointing week.

Oh, I got some things done, to be sure. Seeing The Avengers over the weekend kicked ass, but I did make more progress on Cold Iron. But I got some rejection letters back, I totally flubbed more than one debate, and the dayjob has just been kicking my ass in general. Thankfully, it’s just about over.

I’m going to put this one in the books, grab relaxation when I can over the weekend, and try to start fresh. As long as I learn something from the past, I’ve no need to dwell on it.

Book Review: Blackbirds

“Everyone dies alone. That’s what it is. It’s a door. It’s one person wide. When you go through it, you do it alone. But it doesn’t mean you’ve got to be alone before you go through the door. And believe me, you aren’t alone on the other side.”
― Jim Butcher, Dead Beat

A psychopomp is, put simply, a guide and guardian of the dead. They’re pretty prevelant in classic tales and myths. Anubis, the Valkyries, Charon, Muut, the list goes on. For the most part, these extra-dimensional beings take care of the souls of the newly departed and help them transition in the world beyond this one. To my knowledge, none of them go through the pockets of the deceased for cigarettes and credit cards. But it’s not like Miriam Black asked to be given her ability to know how you’re going to die.

Courtesy Terribleminds
Cover art by Joey Hi-Fi

The main character of Chuck Wendig’s Blackbirds is a surly, sarcastic, capable, and manipulative woman. She scavenges from the people she knows are going to die within hours or even minutes of meeting them. All it takes is a touch, and pow – she sees every detail, down to the exact date and time, who if anyone’s around and what the last moment is like before the doors of life slam shut. She’s haunted by all she’s seen, and more than that. She’s been on the run for a very long time, and even though she didn’t know it, the thing she’s been running from is about to catch up with her.

You could have the most interesting setting in the known universe, but without good characters, the story goes nowhere. It falls flat. It doesn’t move. Miriam moves. She curses like a trucker, brushes off just about anything resembling real human contact, wanders aimlessly from place to place, would just as soon put a knife in your balls as buy you a drink – and yet she’s our heroine. I wouldn’t go so far as to call her entirely likable, but she’s such indelible and admirable you don’t necessarily have to like her for the novel to work as well as it does.

This is one of Chuck’s biggest strengths. His characters come across as people, even if they’re in direct opposition to the characters we come to like. The setting for the tale is an urban fantasy steeped in noir and the gritty semi-absurdity of Pulp Fiction or True Romance. But it could be on a space station or deep underground or in a suburban house and it would still ring true. It’s Wendig’s characters that make him such a seminal contemporary author of fiction.

The writing in Blackbirds is tight and focused. It’s laced with profanity and there’s plenty of sex and violence to be had, and it’d be very easy to let such spectacle overwhelm the underlying foundations. But this novel’s smarter than that. It doesn’t even let the bleakness and finality of Miriam’s visions overwhelm her humanity or humor. It balances extremely well between the narrative throughline of Miriam in the now, the steps she took to be where she is, and the people both with and against her, who could easily have been ciphers or mere empty vessels, punching bags for our heroine to bash around. But as I said, it’s smarter than that, and the universe of urban fiction is at least three magnitudes brighter for its presence.

Blackbirds is an engrossing read, at times incredibly funny and at others something you won’t be able to get out of your head long after you put it down. It is dirty and morbid and vulgar and wonderful.