Prey stars Amber Midthunder (Naru) and Dakota Beavers (Taabe) sit down with Nerdist’s Laura Sirikul to discuss building the relationship between their characters, the importance of cultural accuracy and indigenous representation, and facing off against a legendary sci-fi creature like the Predator on today’s episode of Nerdist Now!
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Afronerd Radio can now be heard LIVE courtesy of Apple Music/Itunes
Those vaunted time constraints, per usual! Check out the latest episode of Afronerd Radio's Grindhouse airing this Sunday at 6 p.m. eastern on the BTalk 100 internet broadcasting platform. Join your highly coveted AFROnerdist hosts as they discuss the following issues: When it rains it pours, people! The world of sports and entertainment lost two icons that were post Civil Rights contemporaries, sports phenom, Bill Russell and Star Trek's original Uhura, Nichelle Nichols. Let's discuss their lives and socio-political impact; Will Smith makes a more formal stemenet and apology to Chris Rock via his YouTube page post "The Slap":
the Milestone Generations documentary made it to HBO Max and hopefully, the audience gets a chance to view the past, present and future of the legendary BIPOC comic book publishing imprint;
The UK comic fanzine, Bleeding Cool receives criticism for its coverage of the Rippaverse/Eric July phenomenon; the Obi Wan Star Wars character may be getting an LGBTQ "makeover" via a forthcoming novel series; word has it that the upcoming Marvels movie starring three super-powered heroines (Captain Marvel, Ms, Marvel and Photon) appears not to be faring well when before screen test audiences; is it time for a Deep Space Nine reboot, courtesy of Paramount Studios a la Picard or Strange New Worlds? And lastly, our thoughts about legendary action star, Sylvester Stallone portraying a "cape" in Amazon's Samaritan:
One thing that Dburt is doing (finally) is investing in cryptocurrency, courtesy of Roundlyx. We would implore our followers to investigate, discern and then explore by using our referral code: afro-87A4BF
Call us LIVE at 508-645-0100. AFTER CLICKING ON THE HIGHLIGHTED LINK, GO DIRECTLY TO AFRONERD RADIO!!!
Also, Afronerd Radio's podcast format can be heard via BTalk 100 Pandora, Spotify, and, IHeartRadio....more formats to follow!
You’d be hard pressed to find a horror director as beloved in most circles as the iconoclastic, gore-loving Italian director Dario Argento. He completely shifted the burgeoning giallo movie filoni with his 1970 debut The Bird with the Crystal Plumage. He turned that genre on its head five years later with Deep Red. In 1977 he made the symphonic, technicolor nightmare Suspiria, then spent much of the ’80s making hyper violent, hyper stylish giallo-slasher hybrids to mostly excellent results. And then a switch flipped. His output in the ’90s was spotty, and after 2001, you couldn’t find even a decent movie much less a good one. His newest, the long-awaited Dark Glasses, played at Fantasia Fest this weekend and is easily his best in 20 years.
That is certainly not a ringing endorsement. Six of Argento’s last eight movies were, in my opinion, quite bad. Even if we were charitable and say 1998’s The Phantom of the Opera and 2012’s Dracula 3D (his two worst by a country mile) were noble swings for the fences, how do you explain things like the tepid The Card Player or the truly disappointing Giallo (the most on-the-nose of titles)? Dark Glasses had been a script Argento tried to make for quite a long time. He’s 80 years old, and hasn’t made a movie in a decade. The deck was surely stacked against him, and though the movie itself is a mild success, in the scheme of his recent career, it’s an unbridled triumph.
The story gives you a hint at how long the script has been knocking around. Diana (Ilenia Pastorelli), a sex worker in Rome, crosses paths with a murderer going around killing sex workers. While trying to drive away from him, she collides head on with a family sedan. The parents in the car die leaving a 10-year-old son orphaned, while Diana loses her sight. As more of her friends, and even some police officers, fall victim to the murderer, Diana teams up with the now-orphaned son Chin (Andrea Zhang) and a Very Good Dog to take him down.
From a plot and character perspective, Dark Glasses feels right at home with gialli of the early ’70s. In fact, it bears more than a little resemblance to Argento’s own The Cat o’ Nine Tails from 1971. It’s a little ridiculous, but certainly much less ridiculous than many other of Argento’s own films. It’s got sex, it’s got violence; I don’t know if you remember, but it has a dog. Not only that, but it has a Goblin-esque score from Arnaud Rebotini and effects from frequent collaborator Sergio Stivaletti. This is what you want from an Argento movie… to a point.
What feels sorely lacking here are the directorial flourishes that made Argento the legend he is. Dark Glasses is 86 minutes, far shorter than most of the director’s best work. Those movies relish in the murder set pieces, luxuriate in artifice of cinematic carnage. This one does not. It’s bare bones, right to the point, and allows the characters to move the story. It’s not a bad thing, by any means, but for those expecting or hoping for a return to form, a giallo to rival his heyday, it might be a bit of a disappointment.
Argento’s last truly good film in my opinion was 2001’s Sleepless. That’s 21 years for people counting. He hasn’t made a passable movie since 2007. With the bar that low, Dark Glasses more than surpasses it. Truly I’m just relieved the director made a decent movie again. I’ll gladly take a modest Argento outing at this point. At least we know he’s still got the spark.
Kyle Anderson is the Senior Editor for Nerdist. You can find his film and TV reviews here. Follow him on Instagram and Letterboxd.
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