One of my absolute favorite indie films of the past five years is Ana Lily Amirpour’s stylish vampire-noir, A Girl Walks Home Alone At Night. It tells a subdued, atmospheric tale of romance and horror while approaching genre conventions with a feminist take, all the while treating its viewers with striking visuals and an unforgettable soundtrack. It’s a film I love, and a debut that presented Amirpour as a visionary in the indie filmmaking scene; the film garnering an almost exclusively positive reaction from the larger film community including critics and fans alike.
Although Girl is her debut film, Amirpour’s expert work on the film gives the impression that she’s a veteran filmmaker; the film is just that impressively well-realized and notable. Which is why it’s surprising that her new film, The Bad Batch, comes off as amateurish by comparison. Amirpour serves as both the film’s writer and director (as she did on her first feature), and while her incredible aural and visual sensibilities translate over from Girl, it’s her writing that stumbles, lacking meaningful character development or a storyline worth investing in.
This interview with Janice Tuck Lively was conducted during the Spring of 2017 by Jet Fuel Review Editor Bree Scott.
Janice Tuck Lively was a visiting author at Lewis University in March 2017, alongside poet Elizabeth Powell. She read an excerpt from a story she had been working on at the time, including an emotionally intense passage about a mother supporting her child through childbirth.
I had the chance to catch up with Lively after the reading — I took a class of hers for one semester at Elmhurst College before transferring to Lewis University. To say that she had a hand increasing my interest in micro-fiction is an understatement, as I had strictly been a poet before meeting her for the first time.
Good evening, blog readers! I hope you’ve been enjoying this weekend. It’s time for another round-up of our recent blog posts. But first, I have some very exciting news!
The latest issue of the Jet Fuel Review — issue #13 — is now available! We are very excited to present this new issue, with beautiful cover art from Damon Locks, a Chicago-based visual artist and musician. Be sure to check out this new issue because it contains work from some truly amazing writers, including a group of high school students from across the world in our special dossier.
On the blog, we have some new tunes for you to jam out to! Be sure to check out this post from a few weeks ago, as well as our recent late night edition of the Jet Fuel Jukebox.
As always, we have some stellar media reviews here on the blog. In her Book Corner, Sabrina recently reviewed My Life Next Doorby Huntley Fitzpatrick. Quinn Stratton, our comics blogger, wrote a post about Dan O’Bannon’s The Long Tomorrow. And finally, music blogger Dan Fiorio wrote a review of Gorillaz’ latest album, Humanz.
I hope you’ve all enjoyed our recent posts on the blog. Be sure to check out issue #13 of the Jet Fuel Review!
It’s bothersome to hear people talk about Gorillaz. Sure, Gorillaz are a widely loved and celebrated act, and they have been for nearly 20 years now. But one of their greatest strengths is also one of their biggest setbacks.
It’s idiotic to me that the animated world of Gorillaz, co-created by legendary underground comic artist Jamie Hewlett, and which serves as the stylistic umbrella for a global and multigenerational collaborative music project, proves to be such a turnoff for people.
I often hear, “I’m not in the mood to listen to a new Gorillaz record.” Or, “I haven’t listened to Gorillaz in years,” said with an uppity, I-have-no-time-for-this-kids-crap kind of pretension. I hear it all the time. But the worst is when I simply hear someone say, “I hate them.”
These all translate to, “I don’t want to listen to something that my anime-watching, comic-reading coworker listens to.” It’s bullshit and it totally exists — don’t deny it. It’s a very lazy argument, and I’d say that even without my personal bias. Gorillaz is a project that represents artistic unity and bridging gaps to deliver a message that we as a people desperately need, especially in our current turbulent dystopia. This is the point of Humanz’ entire existence.
Over the years, there have been countless examples of fantastic science fiction depicted in the comics medium. This last week I was reminded of one of my absolute favorites, The Long Tomorrow.
Written by Dan O’Bannon (perhaps best known as one of the screenwriters for Ridley Scott’s Alien) and drawn by Jean Giraud (perhaps better known by his pseudonym Moebius) in 1975 while the two were working on Alejandro Jodorowsky’s tragically unrealized film adaptation of Frank Herbert’s Dune, The Long Tomorrow has an impressive science fiction pedigree — one that it more than lives up to.
We’ve got just a little over an hour before it’s no longer Tuesday, so let’s get this Jukebox out into the world!
This week’s Jukebox is similar to last week’s, but the roles are reversed. Jake’s half is the throwback, with 10 tracks that all came out in 2007, while my picks revolve around a number of brand new tracks from some of my favorite artists.
If you listen this week, you’ll find new songs from Phoenix, Gorillaz, and Foster The People, as well as Top-40 hits from a decade ago, featuring Rihanna, Akon, and T-Pain.
I also want to give a shout out to the new HAIM track, that’s only on Youtube as of now. Listen to their new track, “Right Now.”