The progression of college-based ideas in terms of the horror tropes have run the gamut but as many genre films have shown as of late, it is the harm of social media and bad postings that scare many, more so younger than old. Whether it be the dark narcissism of “Spree” at Sundance earlier this year to the earliest form of it 6 or so years ago with “King Kelly” at SxSW, the texture is about identifying and moving with the idea of what the main protagonist is experiencing. Lindsay LeVenchy plays Ellery, who is enjoying college and playing the party game as much as she can while keeping her girls safe as a leader at her sorority without sacrificing the fun to be had. it is an interesting approach which is a nice change in terms of cognizance of drunken behavior on both sides of the fence. However, as often happens in these movies, events go awry. What is interesting as this subset of the genre continues to grow is the aspect of showing the phone actions on screen as an extension of identity. When said event happens. Ellery is at a crossroads because the action taken could have been committed by her brother who is part of. While the story and plot points initially moves the narrative towards an idea of genetic mutation, it settles for something more grounded while still keeping the audience still in the dark about who the vigilante is, as it is motivated by a single signal of an exclamation point in a post. The idea of this trigger is not as clear as it should be but the misdirects in terms of religious imagery and motivations ae well played. The actions of said killer do have a pattern to them but the path of the movie is more about assumptions then initiations in the fraternities or sororities. While the pacing is effective, the stakes and emotional resonance never quite takes full hold in a way that it could have.
By Tim Wassberg
The ending of the 1st season of “Star Trek: Discovery” ended on a perception into the new era of what would happen to Michael Burnham, the new self reluctant savior of the Discovery crew. The idea of logic plays into her mind. But within a mirror universe the texture of manipulation becomes more diabolical. The essence in these scenarios is everybody is out for themselves. In “Star Trek: Discovery – Succession” [Kirsten Beyer & Mike Johnson/IDW/144pgs], when the Emperor’s seat is vacated, the idea of genocide becomes somewhat of a misnomer since the bombs the Terran Empire are creating become gene specific to wipe out an entire race. This is similar to an episode of “Star Trek: Voyager” when an all encompassing being literally wishes an entire species out of existence. The new Emperor, a true blood heir unlike Burnham, obviously suffers from low self esteem. Burnham, ever the strategist, plays a texture of reverse psychology but the final solution works with more than a tad of irony with a man coming up in the ranks who has the ability to bring it all down. This speaks back in anticipation to a TOS episode with fanfare although the last shot of Season 1 of “Star Trek: Discovery” might point to something different especially with the idea of who commands a certain ship. The second story in this commendum details the backstory of the development of the spores for the spore drive and the reluctance of Anthony Rapp’s character Lt. Stamlets to embrace it as well as Starfleet which he only ends up doing at the insistence of his new boyfriend. For those who have seen the series, ruin but possible redemption is only a short step away but the backstory is not overly engaging despite filling in much needed gaps. The art is reflective of the series with a little swath of “The Old Republic” from a slightly universe but still fitting.
By Tim Wassberg