Written by Christopher Golden
Published by Spectra
Our first introduction to the land where the myths of mankind were very much real and in serious trouble, The Myth Hunters (review), was a great example of author Christopher Golden’s ability to cross multiple genres with ease, from horror to fantasy to science fiction and back again, blending them together in way that seemed effortless. The follow-up story, The Borderkind (the second of three planned books that take place in the world beyond The Veil) goes even farther into this genre cross-pollination, though this book is decidedly darker in tone throughout.
During Myth Hunters we meet New England attorney Oliver Bascombe on the night before his wedding, when he is whisked away to the world beyond The Veil by the heart of winter himself, Jack Frost, on the run from a creature who was sent to destroy all myths. The book ended with Oliver preparing to confront the leaders of the Two Kingdoms, which rule this parallel world, in order to lift the death sentence that was placed on him the moment it was discovered he could cross between the worlds, something normal humans are not able to do.
Borderkind sees Oliver splitting from the group of legendary creatures he spent most of Myth Hunters with, setting off with only Kitsune, a beautiful shape-shifting fox woman, in order to both guarantee his freedom and rescue his sister, who’s being held captive by the Sandman, another creature of legend who, as of late, has taken to stealing the eyes of human children while they sleep. The legendary creatures, meanwhile, set out to discover who is behind the plot to destroy the creatures of myth, meeting their own painful obstacles along the way.
During Borderkind the similarities to J.R.R. Tolkein’s The Two Towers were obvious if not unintentional; a group of travelers untied in the first epic tale must separate to face down new horrors on their own. As it worked in Towers (and please don’t think I’m comparing the author’s writing styles, they are apples and oranges, rather the overall structure) so it does in Borderkind, just with less singing. Of course, the very world is not at stake in Golden’s books (at least not yet), but the plot is, as they say, thickening quite a bit as the tale unfolds.
As previously stated Borderkind is noticeably darker than Myth Hunters, mainly because a lot of the wide-eyed wonder that the characters experienced in the first book has been tainted by how cruel this world of myths can be, but also because there is a lot more at stake this time out. The myths (Frost, Indian legend Blue Jay and others astute readers may recognize from stories in their youth) are on the run from certain death, coming face to face with it multiple times and never coming out unscathed. Oliver and Kitsune experience a whole new set of problems when the word starts spreading that Oliver and his sister may be a Legend-Born, the result of a coupling between a myth and a human, who are the subject of prophecies in the world of the myths. To top it off Oliver’s fiancé has found a way to follow Oliver across the veil along with a troubled detective, who was hired to find Bascombe, neither of which are exactly met with open arms when they enter the world of legend.
Though there are multiple storylines running at once, you’ll never be lost as to who’s doing what or what situation you’re in thanks to Golden’s firm grasp on his characters and their histories, not to mention the wildly different settings our heroes find themselves within. It helps to keep Borderkind rolling at a great clip, building to an ending that you’ll likely have a hard time putting down once you get to it because a lot of things change as it unfolds. Needless to say the third book is going to be very different for it’s own reasons.
The only complaint I would bring against Borderkind has to do with both Oliver and his fiancé on his trail. We spend a lot of time in both character’s heads and it is then that Golden’s inclination for overly romanticized musings kick into high gear. I found my eyes beginning to roll now and then as Oliver dealt with his conflicting emotions towards the woman he was going to marry and the supernatural fox creature he was traveling with, which would always lead to drawn-out instances of thoughts of love and devotion that tilted towards the overdramatic. Of course, I’m not traversing a strange world full of myths and monsters with a shape-shifting creature of Japanese legend, so perhaps it’s all about context.
I’m really looking forward to the third (final?) book in this series now that so much has changed and I’m sure Golden will deliver on what is hinted at in the ending of Borderkind and then some. As long as he can tone down the lovey-dovey stuff (as it is referred to in the professional writer’s world), I can see this series ending leaving a lasting mark on everyone who picks it up.
4 out of 5
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Before We Vanish Review – A Quirky and Original Take on Alien Invasions
Starring Masami Nagasawa, Ryûhei Matsuda, Hiroki Hasegawa
Written by Kiyoshi Kurosawa
Directed by Kiyoshi Kurosawa
During the J-horror rampage of the late 90’s and early 2000’s, Kiyoshi Kurosawa’s Kairo (aka Pulse). A dark, depressing, and morose tale of ghosts that use the internet to spread across the world, the film’s almost suffocatingly gloomy atmosphere pervaded across every frame of the film. Because of my love of this film, I was eager to see the director’s upcoming movie Sanpo Suru Shinryakusha (aka Before We Vanish), which follows three aliens who recently arrived on Earth and are preparing to bring about an alien invasion that will wipe humanity from the face of the planet. Imagine my surprise when the film turned out to be barely a horror title but was instead a quirky and surreal dramedy that tugged at my heartstrings.
Admittedly, I was thrown completely for a loop as the film begins with a scene that feels perfectly at home in a horror film. Akira (Tsunematsu), a teenage girl, goes home and we enter moments later to blood splashed on the walls and floor and bodies strewn about. However, the disturbing visuals are spun around as the young girl walks down a highway, her clothes and face streaked with blood, Yusuke Hayashi’s music taking on a lighthearted, almost jaunty attitude. From there, we learn of the other two aliens (yes, she’s an alien and it’s not a secret or a twist, so no spoilers there): Amano (Takasugi), who is a young man that convinces a sleazy reporter, Sakurai (Hasegawa), of his true form and tasks Sakurai with being his guide, and Shinji (Matsuda), the estranged husband of Narumi (Nagasawa).
What sets these aliens, and their mission, apart from other invasion thrillers is their means of gathering information. They’re not interested in meeting leaders nor do they capture people for nefarious experimentations. Rather, they steal “concepts” from the minds of people, such as “family”, “possession”, or “pest”. Once these concepts are taken, the victim no longer has that value in their mind, freed from its constraints.
While this may seem like a form of brainwashing, Kurosawa instead plays with the idea that maybe knowing too much is what holds us back from true happiness. A man obsessed with staking claim to his family home learns to see the world outside of its walls when “possession” is no longer a part of his life. A touchy boss enters a state of child-like glee after “work” has been taken. That being said, there are other victims who are left as little more than husks.
Overly long at 130 minutes, the film does take its time showing the differences between the aliens and their individual behaviors. Amano and Akira are casually ruthless, willing to do whatever it takes to send a beacon to begin the alien invasion, no matter how many must die along the way, while Shinji is the curious and almost open-minded one, whose personal journey finds him at one point asking a priest to envision and describe “love”, a concept that is so individualistic and personal that it can’t be taken, much less fathomed, by this alien being. While many of these scenes are necessary, they could have easily been edited down to shave 10-15 minutes, making the film flow a bit more smoothly.
While the film begins on a dark note, there is a scene in the third act that is so pure and moving that tears immediately filled my eyes and I choked up a little. It’s a moment of both sacrifice and understanding, one that brings a recurring thread in the story full circle.
With every passing minute, Before We Vanish makes it clear that it’s much more horror-adjacent than horror. An alien invasion thriller with ultimate stakes, it will certainly have appeal to genre fans. That being said, those who go in expecting action, violence, and terror will certainly be disappointed. But those whose mind is a bit more open to a wider range of possibilities will find a delightful story that attempts to find out what it means to be human, even if we have to learn the lesson from an alien.
Before We Vanish is a beautiful, wonderful tale that explores what it means to be human when faced with the threat of extinction.
Delirium Review – Bros, Cameras And A Whole Lotta Shakin’ Goin On
Starring Mike C. Manning, Griffin Freeman, Ryan Pinkston
Directed by Johnny Martin
When will these testosterone-overloaded frat bros with cameras ever learn that pissing off the evil souls of the departed all in the name of amusement won’t get you anywhere but wrecked? Same goes for filmmakers: when will they learn that found-footage exploits set in a house of pure sadism are something of a wrung-out affectation? Oh well, as long as people keep renting them, they’ll continue to get manufactured…which might or might not be to the benefit of the horror film-watching populous.
Delirium opens with a poor lad, strapped with a GoPro, running for his life through a labyrinth of haunted territory, praying for an escape…and it’s a foregone conclusion as to what happens to this trespassing individual. We then relocate our focus towards a collection of (ahem), “gentlemen” self-titled as The Hell Gang, and their escapades are about as profound as their grasp on the English language and its verbiage. The words “dude”, creepy”, and the term “what the fuck” are thrown about so much in this movie it’ll make your head spin to the point of regurgitation. Anyway, their interest in the home of the Brandt clan is more piqued now than ever, especially considering one of their own has gone missing, and they’ve apparently got the gonads to load up the cameras, and traverse the property after-hours, and against the warnings of the local law-enforcement, who surprisingly are just inadequate enough to ignore a dangerous situation. The cursed family and the residence has quite the illustrious and bleak history, and it’s ripe for these pseudo-snoopers to poke around in.
Usually I’m curb-stomping these first person POV movies until there’s nothing left but a mash of blood, snot and hair left on the cement, but Martin’s direction takes the “footage” a little bit outside of the box, with steadier shots (sometimes) and a bit more focus on the characters as they go about their business. Also, there are a few genuinely spooky scenes to speak of involving the possession of bodies, but there really isn’t much more to crow about, as the plot’s basically a retread of many films before it, and with this collection of borderline-douches manning the recording equipment, it’s a sad state of affairs we’re in that something such as this has crept its way towards us all again. I’m always down for jumping into a cold grave, especially when there could be a sweet prize to be dug up in all that dirt, but Delirium was one of those movies that never let you find your footing, even after you’ve clawed your way through all of the funereal sediment – take a hard pass on this one.
Got about a half-dozen bros with cameras and a wanton will to get slaughtered on camera, all the while repetitively uttering the same phrases all damn day long? Then my friends, you’ve got yourself a horror movie!
Godzilla: Planet of the Monsters Review – A Timid Step Towards a Frightening Possibility
Starring Mamoru Miyano, Takahiro Sakurai, Kana Hanazawa, Yuki Kaji, Tomokazu Sugita
Directed by Kobun Shizuno and Hiroyuki Seshita
The Godzilla series is the longest-running franchise in cinema history. With over 30 films over a 60+ year career, the famous kaiju has appeared in video games, comic books, TV shows, and more, cementing its place as one of the most recognizable cultural icons in the past 100 years. With Godzilla: Planet of the Monsters, the titular beast makes its foray into the world of anime in this first film in a proposed trilogy. While there are moments that are genuinely thrilling, the film unfortunately fails to capture the imagination and wonder that is at its fingertips.
The story is quite simple: Earth is under attack by swarms of various kaiju who are wreaking havoc across the planet. Entire cities are being destroyed when Godzilla appears to vanquish humanity’s foes. Unfortunately, the King of the Monsters isn’t really there to help humans and its rampage continues until a race of alien beings arrive at Earth asking for a place to stay in exchange for defeating Godzilla. When they are unable to do that, the remaining humans board a giant spaceship to venture off into space in search of a new home only to come back some 20 years later, nearly 20,000 years later by Earth time (think Interstellar logic), to search for resources and, possibly, a planet that will welcome them once again. However, Godzilla is still around and isn’t keen on sharing.
The main character of the film is Haruo Sakaki, a young man who begins the film by nearly following through on a suicide bomber terrorist act that is meant to call attention to humanity’s loss of vision and failure to fulfill their mission of finding a suitable home for the remaining survivors. Even though he is accosted and jailed for this act, he is eventually freed when people realize that his lifelong passion of killing Godzilla is the foundation for research he’s done in finding a way to take down the creature…a plan that just might work. The other characters are so forgettable that I forgot their names during the film.
From there, the film essentially pivots into following a massive team of volunteers who land on Earth’s surface to lay a trap for Godzilla in order to destroy it. Since this is Earth 20,000 years after they left, the flora and fauna have evolved and changed so radically that the team have no idea what to expect or how to react, so caution is a must.
The problem with this is that while the characters have to be cautious, the film doesn’t nor should it. The movie has the chance to explore the wealth of imaginative opportunities at its fingertips and yet does almost everything it can to avoid doing just that. The color scheme is flat and uninteresting. The character movements lack smoothness and the action sequences fall victim to shaky cam syndrome. There are a few mentions of some of the changes that have taken place on the planet, such as razor sharp plants, but they’re so incidental or offhand that it feels like no one making the film has any interest in seeing anything other than man against beast.
Speaking of this dynamic, the action sequences are quite entertaining but also feel somewhat reserved. Godzilla barely moves and much of the destruction levied against the humans is seen from a distance, apart from an attack on a military outpost by dragon-like creatures. For nearly the entire film, I found myself thinking, “I’m okay with this but that’s about it.”
The brightest moment in the film are the last few minutes and I won’t spoil what happens. Suffice it to say that it definitely has me interested in the second and third films but I really hope that this new world will be explored further in those entries. Otherwise, we’ve got a fascinating foundation that will be squandered.
Godzilla: Planet of the Monsters is a bland entry in a trilogy that has great potential. For a first course, there’s a distinct lack of flavor or complexity. The final minutes are the only saving grace and I hope that the second and third films make use of that grand wonder.
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