It’s the beginning of a new year. Since the podcast last week covered the old year, let’s take this time to look ahead to what I hope for 2015.
I am happy with the articles for Fanboy News Network itself; I had some health and work issues towards the end of the year that meant updates were a little spotty, but overall I am happy and I need to accept that (as a primarily one man operation) I will miss updates from time to time.
For the podcast, I need to work on a couple of things. One is an equipment upgrade; I need to get a mixing board and an additional mic for when I go out in the field. Sadly I cannot afford these things right now, but I’ll keep an eye open to see if a solution presents itself. The other thing is that I need to cultivate bringing in more people who want to participate with the show. My best episodes are ones where I interact with other people. I’m not sure if that means finding a regular co-host, or just convincing more people I know to come on.
I also need to do some rearranging around my home to create a better recording environment.
So right now I am going to state that for 2015 my goal is to have two articles written each month to go up on every other Monday, with at least one podcast to fill in one of the other Mondays.
I do not want to increase the amount of writing I do as I have another project I need to double down on.
I am currently in the middle of writing a six episode audio-play. I want to finish those and start working on producing the show. If you want to follow the development of this show I will be covering it on my Tumblr.
I also need to take time to see if Patreon is something that I can use to help develop this site more.
One final goal is that I need to work on improving my skills and overall profile so that in 2016 I can start feeling comfortable submitting myself as a pro (and press) to conventions and start doing more there.
So those I are my creative goals for 2015. We’ll see how it goes.
In a season full of comic based TV shows, The Flash has managed to stand out from the crowd. It started building buzz a year before its debut when it was announced that Barry Allen would appear on last year’s fall finale for Arrow. What transpired was one of the best depictions of The Flash’s origin ever, setting the stage for the series.
Originally, The Flash was supposed to get a back door pilot in that later half of that season, but the executives at CW were so impressed by what they had seen so far that they opted to order a full pilot for the show instead. When The Flash premiered, it was the highest rated debut the CW had seen in five years. It has been a strong ratings performer for the network since then, easily gaining a full season order after only two episodes.
I’m going to make a bold statement, The Flash is easily the best comic book adaptation that has ever appeared on TV.
So why is that?
One of the biggest complaints about most adaptations of DC properties is that they seem to be ashamed that they are based on comic books and do everything to say “no, really, we are mature.” Often doing this by going grim and gritty, even if the character in question was nothing like this in the comics.
The Flash doesn’t bother with that. It proudly embraces its comic book roots and presents a hero who is upbeat and optimistic. Even more than the nineties version, this show explores the nature of the Flash’s powers and what he can do with them. The visuals also capture the feel of the comics, complete with the speed force lightning effect that surrounds Barry when he uses his powers.
It’s also a great point that, so far, all the villains have been characters from the comics. Even when the characters have obvious alterations from their comic roots, they are still all great nods to the original versions.
Of course for the show to work, we have to connect to the characters.
As Barry Allen, Grant Gustin naturally has the whole show riding on his shoulders. Fortunately, it is a case of perfect casting. The show takes advantage of his boyish looks to help convey the enthusiasm that Barry has for his powers, while simultaneously highlighting his compassion. As with any modern adaptation of the character, this Flash is a mixture of both Barry Allen and Wally West. Where the nineties version was mostly Barry with some Wally mixed in, Gustin’s is more of a 50/50 mix.
The supporting cast is also strong, with some interesting references to the comics
Dr. Harrison Wells (Tom Cavanagh), the Head of S.T.A.R. Labs, is responsible for the Particle Accelerator explosion that gave Barry, and all the villains, their powers. While clearly working to both protect Barry and help him improve his powers, there is clearly much more going on; we are shown that he is faking the need for a wheelchair and is willing to kill in order to protect Barry. On the surface, Wells appears to be an original character, but based on recent events I won’t spoil here, this is likely an alias so we will have to wait and see.
Cisco Ramon (Carlos Valdes) is an engineer working for Wells, who is possibly more enthusiastic than Barry about their crime fighting. He has a habit of giving the villains nicknames, thus bringing their comic book names into the show. He is based on the DC hero Vibe, which begs the question, is he going to get powers down the road?
A similar question hangs over Dr. Catlin Snow (Danielle Panabaker) who in the comics is the super villain Killer Frost. Here she is part of Wells team and acts as medic when Barry is injured. She is far more serious than Barry or Cisco, but clearly cares about them. While there has been nothing overt, there are hints that she might be attracted to Barry, which could end up setting up a classic CW love triangle and another case of Chloe syndrome.
And this leads us to Iris West (Candice Patton), the girl Barry carries a torch for. The weakest part of the show is how convoluted this relationship is. Barry had a crush on Iris as a child. When his mother is murdered and his father sent to jail for the crime Barry goes to live with Iris and her dad. As adults, Barry still has that crush on her but, due to the awkwardness of their situation, keeps this to himself. As adults Iris considers Barry to be her best friend, oblivious to his crush, and is dating her dad’s partner; but once the Flash appears on the scene, Iris becomes his number one fan and writes a blog about him. Of course in comic canon Barry marries Iris, so that makes her his destined love. Unfortunately this is the one thing in the show that just rings false.
Swept up in this is Eddie Thawne (Rick Cosnett), Iris’ boyfriend and her dad’s partner on the police force. Eddie is an honest to goodness nice guy who just has the misfortune of being Iris’ boyfriend, thus making him a default antagonist for Barry. Also, there is his name; in the comics Eobard Thawne, a man from the 25th century is the Flash’s nemesis, Professor Zoom, the Reverse Flash. Since the Reverse Flash is the big bad of the series fans are naturally assuming either Eddie becomes him, or is somehow connected to him. Time will tell.
Rounding out the main cast is Joe West (Jesse L. Martin), Iris’ father and Barry’s foster-father. Where Wells mentors Barry on the practicalities of his powers, Joe mentors him on his behavior as a hero. Honestly, I don’t think the show would be able to hold up the believability of Barry’s development without Joe and I’m glad they had him know about his foster son’s duel identity from the beginning.
Outside of the main cast special mention needs to go to John Wesley Shipp as Barry’s father Henry Allen. Shipp played Barry in the nineties Flash series, and having him as Barry’s father is a nice nod to that connection.
Right now The Flash is by far the CW’s most watched series and with strong episodes and engaging writing, and will hopefully show DC that not all superheroes need to be dark in order to be successful.
I give The Flash a grade of A+. Fans will be overjoyed at how their hero has been translated to screen and non-fans can enjoy the series just as easily.
And, of course, we will revisit the show at the end of the season to see if they are able to keep this success going.
Three new TV series debuted, this fall, all based on DC comics characters. With all this comic love on TV this season I will be doing early season reviews for all three in the order they debuted, and follow with season wrap up reviews, just as I have done with Agents of S.H.I.E.L.D. and Arrow.
The first of these reviews is Gotham.
Even though it has the highest profile of the three new shows (as it is part of the Batman mythos), Gotham has a huge Smallvilleshaped albatross hanging around its neck. The premise of the show is that it takes place directly after Bruce Wayne’s parents are murdered and follows newly minted police detective Jim Gordon (Ben McKenzie) as he investigates the murder and deals with the rampant corruption in Gotham. The show also follows the formative years of Bruce Wayne (David Mazouz), along with several other prominent Batman characters, with special focus on Oswald Cobblepot, aka The Penguin (Robin Lord Taylor).
There is a lot of baggage a series has to deal with when it is a prequel to a well-known story. I have made my feelings about Smallville (and all the things that went wrong there) known previously. It is, however, possible to have a well done prequel (e.g. Hannibal). The challenge is in which parts of the story canon you keep as sacred, and which parts you are willing to change. Above all else, it needs to be a good show, with strong writing and acting.
So how does Gotham do on this front?
The series was created by Bruno Heller, who also created The Mentalist and HBO’s Rome. As such, it does have some decent writing, but it often comes off as uneven; although, to be fair, some of that could also be the acting. Basically, the show is a frustrating mix of wonderful, passable, and awful. On the plus side, you have the Penguin; his storyline is far and away the best thing about the show, and Taylor’s performance is great, showing the Penguin as a grand manipulator – sniveling in one scene and cunning the next, but always with an eye towards getting what he wants. If the show were just about the Penguin, it would be great.
Another of the pluses is Jim Gordon’s partner Harvey Bullock (Donal Logue) who is corrupt, a drunk, and still one of the best cops in the GCPD. Logue is always good in everything he does, and he goes all out here. The best thing about Harvey is that it is clear that Gordon is getting to him and that his story will be one of redemption.
The final gem of the series is Alfred (Sean Pertwee). Unlike previous versions of the character, this Alfred is more of a rough and tumble type, willing to bawl Bruce out, while simultaneously calling him sir. He is portrayed as struggling to figure out how to raise Bruce and help him deal with the death of his parents.
As to the passable parts, sadly we find our lead character Jim Gordon. Gordon is upstanding and unwilling to compromise his principles, but must find a way to navigate the corruption of both the GCPD and Gotham in general. There is nothing wrong with McKenzie’s performance, or how the character is written, it’s that the series seems to just happen to him, rather than him being a driving force.
There’s also Selena Kyle (Camren Bicondova), who is portrayed as a homeless street urchin and thief. She witnesses the murder of the Waynes and becomes somewhat obsessed with Bruce. I really have no problem with Bicondova’s performance, but she has only had dialogue in two of the episodes so far despite appearing in every one. Most of the time we see her silently skulking around either watching Bruce, or tailing Gordon. There is potential for her to be engaging, but they haven’t done anything with her, so far.
And then we have Bruce Wayne (David Mazouz) himself. Bruce is portrayed as channeling his grief into an obsession with figuring out why his parents were murdered. They are showing his development as a detective and his scenes do work, with a lot of thanks to support from Pertwee’s Alfred. But he is not the focus of the series and in some episodes only gets one scene.
And then there are the bad parts of the show.
Chief amongst these is Fish Mooney (Jada Pinkett Smith), lieutenant to mob boss Carmine Falcone (John Doman). Fish wants to overthrow Falcone and goes through a lot of elaborate steps in her efforts to do so. However, her primary purpose is to be a foil for her former underling, The Penguin, whom she ordered killed in the first episode. His defection to another outfit does not sit well with her. Any scene with Fish just drags on the momentum of each episode. Her outfits are crimes against both fashion and logic and her performance seems to be a bargain basement version of Eartha Kitt’s Catwoman. This is particularly frustrating because we know Jada Pinkett Smith is a good actress, so I have to assume this is how Fish is written and directed and Jada is just going along with it.
Another drag on most episodes is Gordon’s fiancée, Barbara Keen (Erin Richards). She just seems to be someone for him to worry about, or to create complications for him due to his needing to keep a variety of city secrets. She hasn’t been given any real character traits beyond worrying about Gordon, or being upset with him. Her only other arc is that she had a relationship with Detective Rene Montoya (Victoria Cartagena), which has led Montoya to have an obsession with proving that Gordon is dirty. Beyond that, Montoya herself also has no personality.
And this leads to one of the great fanboy complaints about the series. Most of the characters are from the Batman mythos, but other than Selena and Tommy Elliot (who will become Hush), all of the other characters are all roughly Gordon’s age. In the case of Penguin this works fine, but for Montoya, her partner Crispus Allen (Andrew Stewart-Jones), future Riddler Edward Nygma (Cory Michael Smith), Victor Zsasz (Anthony Carrigan), and Harvey Dent (Nicholas D’Agosto), these are characters that are traditionally roughly Batman’s age. Here they are all roughly 15 years older than their usual presentation.
This is where the show falls apart for me. They want to have their Batman villains in a show that does not have Batman himself. And with the rate they are introducing characters, if the show gets multiple seasons I’m afraid they will start advancing arcs that make no sense without Batman’s presence.
This leads me to my final problem. The grade. I am giving Gotham a C – at this time. It is going to drive the long time Batman fans up the wall with its handling of the characters and story arcs. It is actually going to be more enjoyable to non-fans who are not as invested in the mythos, but even they still have to deal with the uneven mix of good and bad performances, writing, and characters.
The Bride of Frankenstein is a fascinating entry in the Universal Horror universe. Released in 1935, it stands as one of the most iconic films in the Universal Horror library and is one of the rare cases where the sequel is considered a superior film to the original (Frankenstein); each of these films is so ingrained into our pop culture that it is difficult to critique them.
The Bride of Frankenstein starts with a prologue featuring Mary Shelly (Elsa Lancaster) being praised for writing Frankenstein. The story proper begins just moments after the supposed death of the creature (Boris Karloff) in the first film. Its creator, Henry Frankenstein (Colin Clive), has barely survived the encounter. After being nursed back to health by his fiancé, Elizabeth (Valerie Hobson), he is visited by his former mentor Septimus Pretorius (Ernest Thesiger); Pretorius has been experimenting with creating life himself, but feels Henry’s work shows more promise. He strong-arms Henry into creating a female body to house an artificial brain of his creation.
While this is going on, the creature is trying to find its way in the world, each encounter with humanity ending in disaster. His only respite comes when he is befriended by a blind hermit (O.P. Heggie) who teaches him to speak. Even that ends badly when some hunters come to the hermit’s hut and see the creature. Eventually, the creature is found by Pretorius and convinced to help him force Henry to complete the experiment, with the promise of making him a mate.
The climax of the movie is the creation of the Bride (also played by Elsa Lancaster). The creature tries to woo her, but she is repulsed and rejects him. The creature makes Henry and Elizabeth flee the laboratory, but forces Pretorius and the Bride to stay, saying of the three of them “we belong dead”, after which he destroys the lab.
The Bride of Frankenstein works on many levels. While the movie may not seem as scary to modern audiences, it still retains a great deal of the dramatic tension that is the hallmark of Director James Whale. Unlike the first film, much more of the story is spent following the creature; this time around he is very much the main character and we see him trying to find his place in a world that will never accept him. Karloff brings the pain and longing of the creature to life brilliantly. Colin Clive has much less to do this time as Henry Frankenstein, but still exhibits the mood swings that led me to believe he is bi-polar from the first film. Ernest Thesiger chews the scenery as Pretorius and, unlike the creature, he is very much a pure villain.
Elsa Lancaster’s performance as The Bride is what makes this film truly remarkable. This characters unforgettable image is completely ingrained in our pop culture, yet the character is on screen for less than five minutes. In that short span of time, Lancaster creates a vivid and memorable performance, making The Bride come off as cruel and vicious, while never really doing much more than reacting to what happens around her.
For trivia buffs, it should be noted that The Bride is the only Universal Monster not directly responsible for a death. It should also be noted that during a showing I attended in the last year, when Henry says “She’s alive, Alive!”, three of us sung “Weird Science” under our breath.
I give The Bride of Frankenstein a grade of A+. It is a true classic horror film, and fans of classic horror will love it, and non-fans will still be entertained by it.
It’s time, once again, for our annual Halloween celebration, where everything on the site relates to Halloween or horror for the month of October.
And let’s kick things off with one of the hidden gems of horror films, You’re Next.
You’re Next is from the team of director Adam Wingard and writer Simon Barrett, and is part of the mumblegore subgenre, which strives for naturalism in both performance and dialogue.
The plot set up plays like a lot of standard home invasion films; the main characters are in their isolated home when masked intruders suddenly attack and start killing them off. But unlike most of the films in this genre, there is a significant twist (which I am loathe to spoil) that makes this film stand out from other home invasion films.
This film did not do as well in the box office as it deserved. Once again we have a film let down by its marketing campaign (or as I like to call it, the John Carter Syndrome) it was marketed as a standard home invasion film, with no hint of the twist. And while that makes a certain amount of sense, it is the twist that makes the film worthwhile. I will say this much about it, by the half-way point of the film the invaders are every bit as terrified as the remaining victims.
There is also a very significant focus on the family dynamic at play. The set-up has Paul and Aubrey Davidson hosting a family reunion, in honor of Paul’s birthday, at their vacation house with their adult children. The four children bring their significant others. During dinner on the first night, the bickering and passive-aggressive attacks on each other get so bad that when the first murder happens it comes as a relief.
Wingard sets a great mood by having the family feel trapped, long before the attacks, and giving an increasing sense of claustrophobia as events spiral on.
Sharni Vinson gives a stand-out performance as Erin, the girlfriend of the oldest son Crispian (A.J. Bowen). Erin has a childhood trauma she is trying to get past that informs how she deals with the attack. Her performance forms the through-line of the movie. Another pair of performances that are noteworthy are Nicholas Tucci and Wendy Glenn as middle son Felix and his girlfriend Zee. They are the source of much of the family discord, and this comes into play as the attack commences. One other performance worth pointing out is Barbara Crampton as Aubrey. Crampton is a former Scream Queen, best known as the female lead in Re-Animator. Aubrey’s goal is to have a happy family gathering, and her pain from this not happening is clear even before the attacks begin.
One particularly nice touch is that the entire sound track is variations of the song “Looking for the Magic” by the Dwight Twilley Band.
I give You’re Next a grade of B on the Fanboy News Network Scale. Horror fans should really enjoy the twist on the clichéd Home Invasion story and non-fans should like it for how the twist is carried out.
In years past when I have done my post San Diego Comic Con (SDCC) article, I usually latch onto an issue the show highlighted which I feel affects the entire convention scene. I even had a subject all lined up to cover, the effect of exclusives on the convention scene
And then news started coming out that has changed this from a look at exclusives, to a follow up on a previous column about the SDCC harassment policy. I guess I’ll look at exclusives another time.
You can go here to read my previous column. For quick review there was a petition to have SDCC adopt a more comprehensive anti-harassment policy. SDCC’s director of marketing (Daniel Glanzer) rejected the idea as he said it would suggest to the media that SDCC had a harassment problem.
So how did the event go?
Well there was a major incident that has been reported that suggests that Glanzer will need to rethink his position.
Adrianne Curry, a Model and Actress who is also a well-known cosplayer, was attending the event with friends. One of Curry’s friends was dressed as the Marvel character Tigra. A man approached the friend from behind and tried to put his hands in the bottom of her costume. When that failed he yanked the bottom of the costume down.
Curry, who was dressed as Catwoman complete with a bullwhip, immediately went after the man. Using the whip as a weapon she drove him off. One point to be made here: this incident happened in a crowded area, but not one person stepped forward to help Curry or her friend. In fact, the only thing most did were pull out phones to take pictures
This was, of course, not the only incident reported.
So what now?
It would be easy to say that this would have happened anyway, and maybe it would have, but then again maybe not.
San Diego Comic Con is not just an event, it has its own culture. To fight against harassment, it helps to make that fight part of the culture. We’ve seen other conventions adopt detailed policies that have led to the culture of those shows embracing anti-harassment and helping police themselves.
But step one is that the convention needs to make it clear what is and is not acceptable. The vague policy of SDCC is clearly not cutting it. My hope is the Glanzer and the rest of the governing body of SDCC will wake up to the fact that they need to address this.
Until then, it is our job to keep expressing the need for these changes and doing everything in our power to move the culture in the right direction.
Normally when I review a new series I like to watch five episodes, review it, and then do a follow-up review at the end of the season. With Penny Dreadful there was no point doing this as the first season only had eight episodes.
Penny Dreadful is a Showtime production that follows in the footsteps of Wold Newton, by way of The League of Extraordinary Gentlemen and Anno Dracula. It is a cross-over universe set in Victorian London that brings together the novels Dracula, Frankenstein, and The Picture of Dorian Gray, along with hints of other stories appropriate for the era.
The story follows Sir Malcolm Murray, as he assembles a group to search for his daughter Mina, who has been abducted by a mysterious force. This group includes Vanessa Ives (Eva Green) a childhood friend of Mina’s who is also a medium, Ethan Chandler (Josh Harnett) an American sharpshooter who clearly has a troubled past, Sembene (Danny Sapani) an African who acts as Sir Malcolm’s manservant, and Dr. Victor Frankenstein (Harry Treadaway) who Sir Malcolm brings in for his medical knowledge.
Along the way, these adventurers encounter other characters who further complicate matters: Dorian Gray (Reeve Carney), who finds Miss Ives fascinating in a way he cannot explain; Brona Croft (Billie Piper) an Irish prostitute, dying of consumption, who Ethan falls in love with; and Frankenstein’s Creature (Rory Kinnear) whom the others are not aware of, but makes his presence felt none the less.
One of the strengths that Penny Dreadful has over The League of Extraordinary Gentlemen or Anno Dracula, is that not all of its characters are taken directly from the novels. In fact outside of Dorian, Victor, and the Creature, all the other main characters are original to the series. This gives the show much more freedom in how it wants to portray them.
The show has also benefited from the short season. There was no filler. Scenes either advanced the story, or advanced the characters. Next season will increase to 10 episodes, but that should not do any damage to the pace.
It is also clear that series creator John Logan is aware of the difference between gothic horror vs an action story using horror characters. The horror is on full display here, and the mood is pervasive. The monsters here are not portrayed as beautiful misunderstood outsiders, but as alien horrors to be rightfully feared. This is counterbalanced by watching the effect the events have on the main characters and how, in many ways, that is more horrible than the monsters themselves.
The acting in the series is excellent, which isn’t surprising given the experience of the cast. What is surprising is that the standouts tend to be the lesser known actors. Harry Treadaway and Rory Kinnear give poignant portrayals to Frankenstein and his creation. They are so good that the series could just focus on them and it would still be well worth watching. This is not to take away from the other actors. Eva Green gives one of the best performances of her career as Vanessa, who is conflicted by guilt over her role in Mina’s peril, and the cost that saving her friend is taking on her. Timothy Dalton portrays Sir Malcolm as a man obsessed with saving his daughter, but blind to how his efforts are tainted by that obsession. Josh Hartnett does a fine job with his role, which is often to be the voice of reason, meaning he is often at odds with Sir Malcolm.
Overall, the show does an excellent job of conveying a mood and style consistent with Victorian horror.
I give Penny Dreadful a final grade of B. Fans of the horror genre will enjoy it and non-fans should still find it entertaining.
When Jennifer Lovely (of Don’t Read The Latin) started our weekly Friday Horror Movie Night, one of the movies I requested we watch was Behind the Mask: The Rise of Leslie Vernon. I’d been hearing about this movie for years and was interested in how it was executed. Recently, we finally did watch it.
This movie works from the premise that all slasher movies are actually real events, but that the slashers themselves are just ordinary men who worked to give their actions the suggestion of the supernatural. Slashers are also shown as having their own subculture.
Behind the Mask is about Leslie Vernon’s efforts to become the next great slasher. Leslie reaches out to a documentary crew to film him as he prepares for his killing spree. At first going along to capture this strange underground culture, the film crew find themselves getting drawn into Leslie’s world for better or worse.
At its heart, Behind the Mask is a deconstruction of the slasher genre. Unlike the Scream movies, that are more about characters that are aware that they are in a slasher film, Behind the Mask takes a look at the genre from the slasher’s point of view.
Director Scott Glosserman, who also wrote the script with David J. Stieve, makes several key choices in how the film presents this world that keep it unique. The main one is in not letting his concept box him in. Most of the cinematography is done in a ‘found footage’ style, with the idea being this is what was shot by the documentary film crew; however, when there are scenes that make no logical sense for the film crew to be there, the cinematography switches to being a more in keeping with standard slasher movie styles. It’s a device that works well. In the documentary segments Leslie is talkative, explaining every step of the way what he is doing and why in great detail. When it is in straight-up slasher film style Leslie says nothing, becoming the typical silent slasher. Even the color saturation changes from natural, to the deeper colors you see in a typical horror movie. Also, the camera men are never seen during the documentary sections. In fact, they are barely characters until the third act when the documentary style is abandoned completely.
This film does a great job of laying out what is going to happen in the story, by following the predictable slasher movie expectations and then subverting them at the last moment. The script has some brilliant moments of subtle foreshadowing for those paying attention.
Of course, a film like this is going to live or die based on the performance of the title character. Fortunately, Nathan Baesel gives a great performance as Leslie Vernon. He makes the character very charming, even while conveying that there is something clearly off about him. Thanks to Baesel’s performance there are times in the movie when you really want Leslie’s reign of terror to go off according to plan.
The other lead in the film (Angela Geothals as Taylor Gentry, the interviewer for the documentary) also puts in a fine performance. Taylor rides a fine line, varying from being aloof about Leslie’s plans, to excited or horrified.
One name in the cast that I’m sure was there to help sell the film to the horror crowd is Robert Englund as Doctor Halloran, a man who knows about Leslie’s plans and is trying to stop him. Englund’s part is small and doesn’t require much from the actor, but does serve to add to the overall structure of the movie. Englund’s presence is fun, especially since Freddy Kruger is called out by name a few times as one of Leslie’s influences, and one character suggests that he knows him personally.
Speaking of the character that might know Freddy, the best performance in the film comes from veteran character actor Scott Wilson, who most people today know from The Walking Dead where he plays Hershel Greene. In Behind the Mask he plays Eugene, a retired slasher who lives with his wife in a quiet secluded home. Eugene acts as Leslie’s mentor, giving advice on key parts of his plan and giving the film crew insights into slasher culture. Eugene comes off as a friendly paternal figure, who still gives off the vibe that he could be very dangerous, given the right circumstances.
Behind the Mask is a hidden gem of horror that is underappreciated by horror movie fans, and certainly under seen.
I give Behind the Mask: The Rise of Leslie Vernon a final grade of B+. Horror fans should really enjoy it and non-fans should appreciate how it turns the normal slasher tropes on their head.