Chris Hardwick's Blog, page 2172
February 9, 2017
SIMON SAYS Comic Tells the True Story of World’s Greatest Nazi Hunter
There are plenty of comics about fictional heroic types of every stripe, but certainly not enough about the real superheroes of history. Hopefully that’s about to change. Probably many of you out there reading this have heard the words “The Simon Wiesenthal Center ” at one point or another on the news without really knowing who Wiesenthal actually was. Wiesenthal was an artist who was also one of the world’s most famous Nazi hunters, and who brought many war criminals to justice. Now two comic book creators named Andre Frattino and Jesse Lee are looking for help via Kickstarter to bring Wiesenthal’s fascinating story to life in a new graphic novel called Simon Says.
Simon Wiesenthal was an architect from Austria who survived the Holocaust, mostly thanks to his artistic ability. Because he was he was employed to paint swastikas on train cars by the Nazis, he escaped execution during the war. After World War II ended in 1945, he he and his wife found out that they had lost over eighty members of their family in the concentration camps. Wiesenthal then dedicated the rest of his life to hunting down notorious war criminals who were part of Hitler’s forces.
According to the official Kickstarter page Simon Says: Nazi Hunter #1 is “inspired by the real life story of Simon Wiesenthal, and is not only a dramatization of his experiences alone, but also takes from many aspects of various other Nazi Hunter stories following World War II. The tone of the comic is a mixture of noir and pulp fiction which was prevalent in the 1950s and ’60s. Other influences include the James Bond Series as well as films like Schindler’s List, Inglorious Basterds and TV series like Sherlock and The Man in the High Castle.”
The comic will be 32 pages long, serving as the first issue of Simon’s life as a Nazi Hunter. It will be done entirely by artist Jesse Lee. The creative team is looking to raise $5,000 on Kickstarter before February 28. 75% of this will go toward production costs, with the remaining 25% going to printing costs and delivery. The duo are hoping to finish this comic by the end of the year, and if enough interest is created, they will continue onto issue #2, with the goal of creating a full-fledged graphic novel.
To read some sample pages of Simon Says, be sure to check out our gallery below. And head on over to the project’s Kickstarter page to see how you can help bring this important series to life.
Is this the kind of graphic novel you’d like to see more of? Let us know your thoughts down below in the comments.
Images: Jesse Lee
The Writers Panel #314: TIMELESS Creators Shawn Ryan & Eric Kripke
Shawn Ryan & Eric Kripke, the creators of NBC’s Timeless, discuss their collaboration, the tricks of writing time travel, how creating their own shows—The Shield and Supernatural, respectively—as young writers informed their process, and more.
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RIVERDALE Recap: CHAPTER THREE: BODY DOUBLE
Editor’s Note: This recap contains spoilers for Riverdale’s third episode, “Body Double.” Only read on if you’ve watched (or want to be spoiled on) Riverdale’s latest episode!
The third episode of Riverdale opened with Betty and Jughead reviving the long dormant Riverdale High School newspaper. Jughead fancies himself Riverdale’s Truman Capote—going so far as to say he’s writing the town’s version of In Cold Blood—and only would only agree to take the gig if he could have complete editorial freedom. Jughead’s so, so hardcore about journalism, you guys.
If this sounds like it’s a little serious for high school kids, that’s because it is. Once again, Riverdale firmly planted its feet in dark, noir territory. That’s not all this episode had to offer though and we’re quickly learning that those shadows Jughead always goes on about are long and dark. They cover everyone and thing in Riverdale.
Veronica found this out the hard way on a date with super hunk Chuck Clayton. The date ended in some hot and heavy action, …which Chuck then quickly posted on the internet. For some reason, this act of slut-shaming has been dubbed a “sticky maple” in Riverdale and Veronica is obviously furious. She delivered one of the series best lines to date when she growled at Betty, “you want to help me get revenge, fine, but you better be ready to go full dark, no stars” and we are here.for.it.
Betty, thankfully, went full-on Lois Lane, using the powers of journalism to uncover the horrific truth that the Riverdale Bulldogs have a major sexual assault problem. It turns out the “sticky maple” has happened to many, many girls across the campus.
While Betty and Veronica plotted their revenge against Chuck and the rest of the kinda-rape-y Riverdale football team, Archie dealt with the repercussions of all the lies he’s been telling his dad (the ever awesome Luke Perry). He’s quickly, and thoroughly, grounded—bummer, bro!—which put a hamper on his songwriting sessions with his statutorily rape-y music teacher (so gross).
This, of course, didn’t stop Archie from sneaking out of the house to meet up with Josie & The Pussycats to learn a little about music and white male privilege. It’s a great scene that showcased how strong the writing on Riverdale is: It handles big, often scary, subjects but does so with skill, grace, and just the right amount of bitterness.
Now, Archie’s music career was an interesting plot point and all, but for us, the night was all about Betty and Veronica’s revenge against Chuck. After luring Chuck with promise of a three way and handcuffing him in a hot tub, the girls proceeded to torture him (really). They forced him to admit his misdeeds on camera while raising the temperature of the water and forcing his head underwater. Sinister stuff and extremely satisfying. Don’t eff with Betty and Veronica—they’re the new dynamic duo and they will bury you.
The ladies’ fighting back also managed to bring the demented Cheryl Blossom into the fold. Discovering her late brother was a member of this sick little game of slut-shaming, and it makes her rethink her undying devotion to his memory. In the episode’s final moments, Betty and her burn the book the boys used to keep “score” of their conquests.
It’s symbolic in more ways than one.
The weakest point of the show had to be Jughead, though, who’s just so serious and uninviting. He spent most of the episode harassing a bunch of boy scouts trying to figure out what they saw and heard on the morning Jason disappeared. Jughead’s sole purpose on the show seems to be that of a narrator: it’s like everything he does is an afterthought. Hopefully that changes in episodes to come.
As Jughead monologued through the end of the episode, we got a quick flash of Archie getting dirty with his music teacher. Again. This gross affair can’t stay hidden for long, right? It’s upsetting to watch and it seems to be spiraling out of control very quickly—Archie is a sophomore! He’s a kid and she is a grown woman. It’s wrong Riverdale. Very, very wrong.
In the end, we didn’t learn anything new about the murder of Jason Blossom in this episode, but we got to see the power that is Betty and Veronica unleashed. Lili Reinhart and Camila Mendes are so damn good—serious superstars in the making. Their chemistry is pitch perfect.
It’s probably also worth noting that all the episodes of Riverdale are named after classic movies, most of them noir and/or murder mysteries. “The River’s Edge,” “Touch of Evil,” and “Body Double” have been used, so far. It’s a cool little touch that reveals a lot about the show’s inspiration.
What did you think of Riverdale so far? Do you think Betty and Veronica would straight up murder somebody who crossed them? Let us know in the comments below!
Images: The CW
Marvel Announces Cast for RUNAWAYS’ Villainous Parents
Last week we told you the exciting news that Brian K. Vaughn’s cult classic series Runaways had announced its cast for the principal parts of the titular team members. But as fans of the comic book series know, the Runaways are kids who are running away from their parents, who are all evil super villains and part of a secret cabal called “the Pride.” Now, Marvel Television has announced the actors who will be bringing the worst parents ever to life for the new Hulu series, which is about to begin filming.
In a statement to Marvel.com, Runaways creator and series executive consultant Vaughn said “Marvel’s Runaways has enough great actors to support two shows, but I love that this project contains multiple generations of incredible talent all in one story.” Check out the entire cast playing the Pride below:
Ryan Sands (The Wire) as Geoffrey Wilder – in the comics, Geoffrey Wilder is a shrewd manipulator and the leader of the Pride. He’s a kingpin of crime on the West Coast, and controlled the Pride’s moles in various police forces. He’s the father of Runaway Alex Wilder.
Angel Parker (The Strain) as Catherine Wilder – Starting out as a common thief, after she married Geoffrey Wilder she became a master criminal, and then later with her husband she started the Pride. When it comes to her family, she’s fiercely loyal and a loving mother to her son Alex.
Brittany Ishibashi (Teenage Mutant Ninja Turtles: Out of the Shadows) as Tina Minoru – Tina Minoru is a dark sorceress, and along with her husband Robert, they became members of the Pride. She jumped at the chance to enhance their powers and wealth.
James Yaegashi (Madame Secretary) as Robert Minoru – Just like his wife Tina, Robert has a passion for the mystical dark arts. On his wedding day, he pledged himself to the Pride along with his wife. Their daughter is Runaway Nico Minoru.
Kevin Weisman (Alias) as Dale Yorkes – A time traveler from the 87th century, Dale Yorkes used his technology to become a criminal in the past. He’s the father of Runaway Gert.
Brigid Brannagh (Army Wives) as Stacey Yorkes – like her husband Dale, Stacey hails from the distant future, and came back in time to become a criminal. A member of the Pride along with her husband. She’s the mother of Runaway Gert.
Annie Wersching (The Vampire Diaries) as Leslie Dean – Leslie Dean is actually an alien who was exiled from her home world Majesdane. She’s the wife of Frank and mother to Runaway Karolina Dean, and she is also a founding member of the Pride.
Kip Pardue (Ray Donovan) as Frank Dean – Like his wife, an alien exile and founding member of the Pride. On Earth, he was a former teen star who had a short-lived movie career and is now teeming with insecurity. Father of Runaway Karolina Dean.
James Marsters (Buffy the Vampire Slayer) as Victor Stein – Victor is your basic mad scientist type. He is the husband of Janet Stein, and a member of the Pride. He is also the father of Chase Stein, a member of the Runaways. Not always the most loving dad.
Ever Carradine (The Handmaids Tale) as Janet Stein – Like her husband Victor, Janet is a mad scientist, as well as the perfect PTA mom. It makes sense that these two things go hand-in-hand, right?
Do the actors match your ideas of the world’s most evil parents? Are do you think Marvel missed the mark? Let us know your thoughts down below in the comments.
Images: Marvel.com / Marvel Comics
Need a Runaways crash course? We got ya covered!
Comic Book Club At Sea: Stranger Things
Check out the website at comicbookclublive.com to find out how to watch the show live! And follow the show on Twitter: @comicbooklive, @azalben, @jtsizzle, and @realpetelepage
HALLOWEEN Reboot Shaping Up with David Gordon Green and Danny McBride
If I were a betting man, and had the foresight to put money on who would be rebooting the Halloween franchise for the third time, I’d be a billionaire if I bet on the people who are apparently actually doing it. The odds must have been astronomically against the duo David Gordon Green and Danny McBride taking a stab at Michael Myers’ story, but here we are, and John Carpenter himself is way on board. As relayed by The Tracking Board, Carpenter shared the news on his Facebook page, and heaped praise on the traditionally comedic pair.
So there you have it. Carpenter will be executive producing the movie along with Malek Akkad (whose father Moustapha Akkad produced the original films), Jason Blum of Blumhouse Pictures, and Green and McBride. Green will direct the picture from a script by both him and McBride. Seems strange for the guys behind things like Your Highness and Eastbound & Down to be going into horror? Well, not really; McBride said on an episode of the Nerdist Podcast that he used to write horror scripts all the time before making it big. And Green has directed many great and tough dramas, including All the Real Girls, George Washington, and Joe, which McBride also executive produced.
We’re in a time now where comedians are getting more and more into non-comedic horror, as Jordan Peele‘s Sundance hit Get Out can attest, and a fresh and unique take might be just the thing for the franchise, which hasn’t been riding very high in a good long while. TheRob Zombie reboot from 2007 and its 2009 sequel were certainly a direction to go with the property, but when you explore too much of Michael’s family history, you lose the mystique of the character. If what Carpenter says is what I think he means–“They get it.”–I think we’re going to go back to the Shape well and truly just being a cipher onto which all of our fears and dread can placed. And if they could not do a scene-for-scene remake of the original, that would also be pretty cool.
Possibly the most exciting piece of this news is the prospect of Carpenter tackling the music. He’s been primarily a musician for the past few years, with his Lost Themes albums and a world tour (one of my favorite concerts I’ve ever been to), so to see how he could do new music to a new vision of his classic horror movie something I want in my life.
This new take on Halloween is slated for October 19, 2018.
Are you excited? Are you ready to see the Shape stalk Haddonfield again? Let us know in the comments below!
Image: Trancas
Kyle Anderson is the Associate Editor for Nerdist. He writes the weekly look at weird or obscure films in Schlock & Awe. Follow him on Twitter!
Here’s why Halloween continues to be perfect…
Ghibli Bits: WHEN MARNIE WAS THERE
Well, friends, it was a short jaunt, but we’ve reached the final film in our series looking at the Studio Ghibli films not directed by its two founding directors. (If you’d like to read my thoughts on literally every other Studio Ghibli films, click the links for Miyazaki Masterclass, Takahata Textbook, and Ghibli Bits.) And, fittingly, not only is it our final film in this series, it’s the final feature film produced by Studio Ghibli as a solo, independent entity. It’s a somber, melancholic longing for the past, but a big step toward the future. It’s 2014’s When Marnie Was There.
Hiromasa Yonebayashi had already stepped up in a big way with The Secret World of Arrietty, so why wouldn’t they give him another shot at directing? It was a pretty weird time at Ghibli, however; the studio was in the process of powering down, at least for the interim, following the announcement that founder and creative driving force Hayao Miyazaki was to retire following his ninth Ghibli feature, The Wind Rises, and the feature production arm of the studio would go on hiatus. Were Marnie not already in production, it probably wouldn’t have happened.
Arrietty was successful in that it captured the spirit and look of a Miyazaki movie, but for Yonebayashi not to merely be a carbon copy of his mentor, he’d have to change things up a bit. When Marnie Was There, while keeping a lot of the hallmarks of a Miyazaki film—young female protagonist, otherworldly adventure, magical realism—but makes it much more contemplative, and layers mystery on top of the magical. A lot of that comes from the source material; based on the novel of the same name by English author Joan G. Robinson, the movie has a Gothic ghost story feel, while not being a horror story in any real outward way.
The story—transposed from Norfolk, England in the novel to Sapporo, Japan in the film—follows Anna, an introverted 12-year-old girl living with foster parents. She’s distant and hasn’t connected with them, a relationship made worse when she finds out the couple receive a stipend from the government to look after her. Thinking they only care for her for the money, she pulls back further until she collapses at school. Her foster mother sends her to a seaside town for the summer to stay with her relatives, and Anna soon spies a dilapidated manor house across the way. Thereafter, she has a dream of a blonde girl in the house, having her hair brushed by a woman.
At a village festival, Anna gets into an altercation with a local girl, who makes fun of Anna’s blue eyes, an unusual feature she can’t explain because she doesn’t know who her biological family are. Anna runs off and hops in a rowboat and heads to the mansion, where she sees the blonde girl from her dream. The house no longer appears dilapidated, and the blonde girl—Marnie—says they can be friends but must keep it a secret. Anna returns the next night and Marnie’s family is hosting a party. Anna disguises herself as a flower girl to be let in and she sees Marnie dancing with a boy named Kazuhiko, and Anna wakes up outside the post office. She goes back to the mansion, but it’s abandoned and overgrown again.
So, obviously weird stuff’s going on. Anna sits on the beach and paints the mansion and Marnie, and an old lady who also sits and paints the mansion notices and says how she remembers a little girl like that when she was young. Then Anna and a young girl named Sayaka visit the mansion weeks later and find Marnie’s diary, which has several pages missing. Marnie reappears and tells Anna about her parents going away a lot, and Marnie being abused by the maids and nannies, and Sayaka finds more pages of Marnie’s diary, all of which begin to paint the picture that Marnie might not be just a regular girl, and might have more to do with Anna’s family than anyone knew.
This is the only Studio Ghibli movie I can think of that rests solely on a mystery being uncovered. The Gothic ghost story element of the movie cannot be overlooked, and while transposing it to Japan from England changes many elements, it retains the English literature tenets of the past literally haunting the present, and spirits needing to be freed of their pain. Yonebayashi does an amazing job of adapting the story and playing to his own strengths and the strengths of the studio, in depicting real locations lavishly and through a magical nostalgic lens.
It’s also certainly worth noting that almost all of the major characters in the film are women, with only a couple of exceptions. This too is a hallmark of the Gothic-style mystery of the book (originally published in 1967). I’m reminded of things like The Turn of the Screw. Anna is a deep and complex heroine and her struggles with self-worth and abandonment are never glossed over or swept aside. In Marnie she finally finds some form of belonging and doesn’t quite understand why, until the end. Marnie is a tragic figure the way most “ghosts” are, with a sordid and horrific past that has left an impression on the mansion even after she herself left. The movie takes its time exploring these themes and doesn’t shy away from the unpleasant stuff for the sake of young people watching. While Arrietty was a fun visual feast, When Marnie Was There proved Yonebayashi’s deftness for narrative.
When Marnie Was There doesn’t really feel like an ending the way The Wind Rises did, even though Studio Ghibli would stop production of features thereafter, and have yet to come back other than co-producing the European animated feature The Red Turtle. Marnie was nominated for an Oscar for best animated feature in 2015 where it lost out to Inside Out.
While Ghibli might have stopped, Hiromasa Yonebayashi didn’t. Late in 2016, it was announced that he and his When Marnie Was There producer Yoshiaki Nishimura had founded their own studio, Studio Ponoc—the word coming from the Croatian word for “midnight,” signifying the start of a new day—and their first film, Mary and the Witch’s Flower, would be released sometime in 2017.
As much as the cinematic world will miss Studio Ghibli if they never make another feature, their success was always built upon the creative vision of the filmmakers. It’s only fitting that people who got their start with Ghibli, and have way more stories to tell than they were able to there, would branch out to create something new. If nothing else, Studio Ghibli’s films promote imagination and creativity, and their 20 films bear that out better than most.
Let me know what you think of this movie, and all of the Studio Ghibli films, in the comments below!
Images: Studio Ghibli
Kyle Anderson is the Associate Editor for Nerdist. He’s the writer of Studio Ghibli retrospectives Miyazaki Masterclass, Takahata Textbook, and Ghibli Bits. Follow him on Twitter!
Puck Soup #37: Pete The Retailer from Star Wars Minute
Dave and Greg welcome Pete The Retailer from Star Wars Minute to talk about how his first Puck Soup was ruined, his New York Islanders’ fortunes and potential relocation, how to do Minute-By-Minute podcasts and they play the exciting new game “Star Wars Planet or NHL Player.” That, plus Claude Julien gets fired by the Bruins, and the boys talk about where he and that team go next; firing your coach during a Super Bowl parade; the best and worst of Super Bowl LI; reviewing the Taco Bell Naked Chalupa; the flat salary cap, and the NHL’s evil reasons for it; reader mailbag; and the winners of the first Puck Soup contest, as well as the introduction of the mysterious Puck Soup Cup Soup trophy. Brought to you by Seat Geek and Blue Apron!
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JOHN WICK is Back—and We’re Thinking You Need These Fan Crafts
Home Geekonomics is a series that features the best in geeky home decor, food, and DIY. Each week will focus on a specific fandom and highlight the best of geek for your home and everyday life.
Yeah, I’m thinkin’ he’s back. John Wick returns to the big screen in the appropriately titled John Wick: Chapter 2 on Friday, February 10th, in what we hope is the second of many chapters to come. Keanu Reeves in a suit kicking ass is just the thing that moviegoers need right now.
In his three decades long career, Keanu Reeves has scored big and in his latest series fans can’t get enough of John Wick in action. These fan art pieces are a tribute to the best man’s best friend revenge movie of all time.
John Wick Custom Minifig by Collector’s Solution
The ultimate compliment is when you’ve been recreated in LEGO form. While there are no official John Wick Legos this custom minifig will hold us over. Just imagine if there was a little LEGO dog, a LEGO Mustang Cobra for him to drive around in, oh what about a John Wick suit store? Think of all the bricktastic possibilities.
John Wick Felted Dog by House of Raifere
Ah yes, the pup that started it all. Little Daisy the dog helped mend John’s broken heart and this hand-felted puppy is a trinket that can be carried around in her memory. Only 3-inches tall, the detailing on this is beautiful and she even comes with a tiny faux leather collar and a “daisy” charm just like in the movie. Collective *sigh.*
John Wick Art by Rebels Life
Offset by a calm yet mysterious lavender background, the most adorable little hitman you’ve ever seen seems ready for anything in this John Wick portrait that captures Keanu Reeves’ best expression in the most kawaii of ways.
John Wick Stamp by Pipes Drums
Look, if you don’t have a rubber stamp of Keanu Reeves then what are you even doing with your life? We’d use this stamp on your lunch bag so no one steals it from the office refrigerator—because who’s going to mess with John Wick’s ham sandwich? No one. Stamp your paperwork with this instead of your signature. All documents are now approved by John Wick. You can and should use this to sign your Christmas cards. I’m saying you need this, you need this now.
John Wick Doormat by DMXY
What better way to welcome guests to your home than with a John Wick doormat. Made of “machine-washable neoprene,”—wait, NEOprene? There’s a Matrix Easter Egg in this product description which makes this an even more of a must-buy for any Keanu Reeves fan.
What’s your favorite thing about John Wick? Let us know in the comments!
Images: Collector’s Solution, House of Raifere, Rebels Life, Pipes Drums
Schlock & Awe: THE NEPTUNE FACTOR
I love any movie with miniature models used to represent massive ships or locations. If skilled craftspeople make a whole cityscape to be destroyed by Godzilla or a runway for a model airplane to land, I’m filled with childlike glee. That’s why I loved Thomas the Tank Engine as a kid, and why I love Gerry Anderson Supermarionation shows even today. Before CGI, model shots were the only way to properly convey some of the amazing worlds sci-fi movies wanted to depict. But sometimes those effects look super silly, and that’s why it’s worth watching (and loving) 1973’s The Neptune Factor.
NOTE: I couldn’t find a trailer for this movie, so here’s just a bunch of scenes that illustrate the same point.
The Neptune Factor, directed by Daniel Petrie, comes from a long line of movies about people going underwater in a cool-ass submarine. The effects in movies like 20,000 Leagues Under the Sea and Voyage to the Bottom of the Sea were pinnacles of their respective decades and were pretty damn enjoyable movies otherwise. But until Kino Lorber released The Neptune Factor on Blu-ray recently, I’d never even heard of it. Lost to time, or just not worth remembering?
Well, the real answer is the latter, but I think it’s worth talking about because of how weird it all is. I love a good swing-for-the-fences-and-whiff movie, and The Neptune Factor is one of those. One of the very first major productions in Canada, the movie wanted to be a major blockbuster (before that term existed) and be thought of right up there with the aforementioned movies, and the huge Irwin Allen effects movies like The Poseidon Adventure and City Beneath the Sea. It had a very serious, grown-up script by Jack DeWitt, underwater cinematography by Paul Herbermann, and a score by absolute genius Lalo Schifrin. And with a cast with people like Ben Gazzara, Yvette Mimieux, Walter Pidgeon, and Ernest Borgnine, how could it fail? Well…
The story begins with the crew of an undersea research facility called Oceanlab. They’re about to leave after an extended stay underwater; we get the plight of some of the crew members, including a guy who nearly got another man killed and a guy who can’t bring himself to go on another tour when the time’s up. Dr. Hamilton (Michael J. Reynolds) is ready to go be with his fiance, Dr. Leah Janesen (Mimieux) who’s working on the project on the surface. Unfortunately, a massive underwater earthquake disrupts things and the lab is lost. Dr. Andrews (Pidgeon) flees in experimental submarine captain Adrien Blake (Gazzara) to try to find them, exploring parts of the ocean that nobody had been to, and along with him he brings Jansen, Chief Diver MacKay (Borgnine), and Diver Bob Cousins (Donnelly Rhodes, Doc Cotton from Battlestar Galactica!)
So, those are the building blocks for a pretty good movie, and the beginning even has some nice underwater photography of dives. It’s a bit slow, but it really worked pretty well. And then the submarine voyages start and, boy howdy. The sub never doesn’t look like a little tiny toy. Usually, the “miniatures” used for movie special effects were actually pretty big, they just weren’t AS big as full sized. This largeness made them look more realistic and weighty. Here, it’s like the submarine is one of those ones you’d put baking soda in to make it zip around your bathtub. And why was this? Well, for one very special reason…
The submarine encounters giant fish and squids and things in the deepest depths of the ocean, but instead of creating puppets or mechanical versions, they just shot real fish that looked weird. However, the fish are pretty small to begin with, so even when shooting them with a very wide lens, they look absolutely minuscule. At one point, Dr. Jansen even looks out a porthole and says “My gosh, I’ve seen something like this before, but it was two inches long!” and then we see a fish that’s clearly only two inches long. Seeing a lionfish swim passed a little toy submarine does not make for a particularly epic action sequence.
That aside–and maybe because of it a bit–The Neptune Factor is a fun little oddity of Canuxploitation (the term for Canadian genre movies) with really great music and some excellent acting. It’s astounding to me how many movies have been totally off my radar, and it’s great when companies like Kino release them to the world. Also, little fish look little. Let it be known.
Images: 20th Century Fox
Kyle Anderson is the Associate Editor for Nerdist. He writes the weekly look at weird or obscure films in Schlock & Awe. Follow him on Twitter!
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