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The first time you see the Lost Boys take out the Surf Nazis, revealing to Michael they are vampires and the hardcore murderous destruction of said Surf Nazis, you’re totally shocked. It’s very visceral, no holds barred, a blood bath that is intend to shock the audiences. Especially back when the film was released and no one knew that they were vampires; I’m sure it had more impact then.

But after that initial viewing, and many subsequent viewings, and a lot of thought (because, hey, what else do I have to do?) I realized what it really was:

The Lost Boys were “shock and awe”ing Michael.

They were being reckless on purpose. They were flaunting their power. They were showboating.

They were being sloppy.

Why? Because plan A had failed. Failed in a major crash and burn. David’s subplot plan to get Star to make Michael her first kill (and take him out of the equation in the process) (god that’s a whole other post about the power struggle that would have ensued, HAD Michael turned fully) was wrecked when instead of biting him, she slept with him. I can only imagine David’s reaction when he learned this:

Star: I didn’t kill Michael. I slept with him instead.
David: YOU DID WHAT?
David: Great, now I’ve gotta go to plan B.
David: You’re grounded, you big haired twit.

Still, up until this point in the film, Michael doesn’t seem to know what the fuck is going on, even after Sam informs him that he’s a “creature of the night”. The flying, the floating, aversion to sunlight, the almost biting Sam, Nanook attacking him, the ghost-like reflection in the mirror, the mysteriously healed wound, salt on the bottoms of his feet (oh wait, that was deleted scene/novelization only) — all these things adding up. It doesn’t take a genius.

I mean, dude didn’t listen to Star whens he flat out told him he was drinking blood. I dunno, if someone tells you ‘hey that’s blood you’re about to drink’, YOU MIGHT STOP AND RECONSIDER.

Oh, 1980s peer-pressure, how simple you were!

Back to plan B. Michael makes a fatal mistake of inviting Max in the house (snort) and skips off to the Boardwalk to throw his weight around and threaten David because… well, there’s kind of a plot hole there.

He saw Star the night before, woke up the next morning, went home, some how got pissed about it (???) and the next thing he’s throwing Marko out of the way and getting up in David’s face about the big-haired twit?

What?

The novelization fills in the gap. Star wasn’t asked to join the Boys on their nightly sojourn to the Boardwalk. She and Laddie are left back at the Cave. Meanwhile, Michael is frantically running up and down the Boardwalk, ever returning to the bandstand where he first laid eyes on Star, but not finding her anywhere. Until he finally sees David & co., which is where the film picks up.

You don’t care about any of this. You just want to know why I called the Boys sloppy.

Think about it: first kill we witness in the movie is the security dude. In the film he disappears, ripped away into the air. In the novel, his drained, dying body is dropped along the beach to be washed out on the tide. He’s a desiccated husk compared to the big, overweight dude he’d been hours before, practically unidentifiable. I think that they were going to show that in the film but budget constraints and/or editing took it out.

Second kill is Shelly and Greg, aka those crazy kids who love stealing comics and picking fights on the carousel. Again, we don’t see them die, just get picked off. (That’s why I love this movie; you never see the horrible murders until the big reveal. It’s just like Jaws; the psychological stuff is far scarier then the in-your-face-gore!)

The movie purports, or asks us to believe, that Santa Carla has a big problem with missing people. Constant “MISSING” signs tacked to poles and bulletin boards, layers upon layers. Why aren’t bodies turning up?

Because the Boys aren’t sloppy. They know enough to hide the evidence, in whatever form or fashion, and to not take too many victims in one kill.

There’s four Boys and they take one fat security guard. And the next kill is two twenty-somethings. That’s not a hell of a lot of blood to split between four vampires. So that means they’re either doing kills off-screen or don’t need a hell of a lot of blood to function.

Now the Surf Nazis.

There’s roughly 5-6 (?) of them in the wide shot before the carnage starts. That’s nearly equal numbers to the Boys, including Michael. A large kill compared to what we’ve already “witnessed”.

Then things get weird and overtly over-the-top.

Why would a vampire bite a skull? Head wounds spray all over the fucking place and waste blood! I mean they clearly show blood spouting all over when David bites the top of that dude’s head.

Why snap a neck before biting? I don’t know? Marko just does.

Paul savagely rips a throat out with his fangs. Again, overkill. Anybody who knows shit about movie vampires knows all they have to do is puncture the skin with fangs and easy blood flow.

And then Marko is ripping a scalp off with his bare hands. Again, what the fuck, why? That’s just brutalizing a corpse at that point.

We never really see what Dwayne does, beyond tackling his victim and eventually throwing the body onto the bonfire. That’s it. I have no other evidence and believe me, I’ve looked.

On to the bonfire the bodies go. Firstly, WHAT THE FUCK and secondly, that fire isn’t hot enough to consumed human remains, even if they were drunk. Alcohol isn’t going to help that much, is it? Sure, flesh is going to char and burn, but the MASSIVE AMOUNT OF EVIDENCE that’s gonna be left before is astronomical! This plot point has bothered me since I was twelve, people. And it only got worse when I started to read up on and learn about forensics.

By this point, Michael’s cowering and David’s giving his infamous dramatic monologue about being a vampire and somewhere behind the Boys the bonfire is burning the corpses and I am left wondering WHY WOULD YOU LEAVE SO MUCH EVIDENCE BEHIND.

Well, as I often have to remind myself, it’s a fucking movie.

In the novel, the scene is more detailed but not. Of course it is, it’s a book, words get far more descriptive. There is more urgency then just a big twist reveal. David is compelling Michael, threatening that if Michael is not “one of them” then he cannot see Star again.

Their transformation is not as visually graphic as the film; they just fly off and attack the Surf Nazis, actually yelling at them and having a bit of dialogue, as opposed to the direct, wordless attack of the film.

In the novelization, the Boys toy more with the Surf Nazis. But there is less depiction of what they do to the Surf Nazis; clearly the movie was always going to be more visual in the big twist reveal. The novelization is sort of a let down in that respect. It’s a lot more of Michael’s internal dialogue and struggle with the realization of what the Boys are versus Michael’s inner vampire being revealed while the destruction and chaos surround him.

I theorize that the Boys were putting on a show, purposely intended to scare Michael, to reveal their level of power along with their true nature. It was all over the top theatrics because Star didn’t do the one thing David asked of her. They were sloppy on purpose.

Since we learn that Star is a half vampire in the next scene, when she flies in and out of Sam’s window, which is another twist, I can’t say that the film makers did anything wrong.

Do I think it would have been more effective for David & co. to have dragged Star along or had her tied up and waiting for them to arrive, then reveal to Michael that the girl he loves is also a vampire? Sure. It would have amused me more, because damn, seeing Star shift into game face would have been a HUGE blow to Michael. (I’m pretty sure they made contacts for Jami Gertz but she never got to use/wear them. Bummer.)

It’s still a blow when she confirms Michael’s theory that she was supposed to kill him, adding that it was what David wanted for extra salt in the wound, and it works just fine for plot purposes.

If everything hadn’t immediately gone south the next day, would the cops have eventually discovered the evidence? Would Max have pull or influence over the cops to cover it all up? These are the questions I can’t answer, because there’s nothing in the movie or novelization to give clues.

The lesson here is: don’t fucking showboat. It just ends badly.

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Well.

I heard back from Mr Seeley.

*long pause*

There isn’t much, if anything, to sum up. He said he was familiar with the fan base but did not elaborate. Anything in his story line that feels familiar or coincidental is just that, coincidence.

At this point, because the film is just shy of 30 years old, there are so many ideas, plot lines, and tropes that have been used over and over, it’s totally possible for someone not that enmeshed in the fandom to think things as ‘new’. I’m gonna let it go.

His intention with the comic is to make something “new, interesting, funny and scary while maintaining the feel of the classic movie.” Okay, more power to him. It’s basically what we do with fan fiction, only he’s been contracted to do it officially.

I know why David’s back. He answered that. There is no big reason, not even one that relates to the story being told. It was so simple, too simple really, for me to even think of. So that’s on me, being angry about that. I’m not gonna be fucking happy about it or anything, but I’m in for a penny in for a pound, so I’ll have to read the next four issues to see what happens.

In the end, Mr Seeley reminded me that regardless of how I feel, good or bad, about the comic book, no one can take the original film from me. This is the truth. I think sometimes I forget that no matter what Warner Bros does or the other people who get contracted to do something with the property that add to it or whatever, the original film will never be fucked with. It will remain unaltered and always a source of joy and happiness for me.

So, thank you for that, Mr Seeley.

In my life time I never imagined being able to instantly message a writer and ask “hey, can I ask you questions?”

But, here we are, 21st century, with a thing called Twitter, that makes people all the more easily accessible.

Nine @ replies to Tim Seeley later, he responded and the ball starting rolling.

What an age we live in.

With everything that happened with The Tribe, with the will-not-be-named-here insider reaching out to try and assure us, to help us understand and get through that horrible nightmare, and the price said insider paid to do a good deed, well… I would have completely understood if Mr Seeley didn’t answer or get back to me. The fragments of that one lay strewn about as wreckage on the Lost Cave forum. They’re there, if you choose to look for them.

Rabid fandom does do itself dis-service by being rabid. Honestly, what I write in here is my own opinion, albeit hotly emotional at times. Hey, I have a lot of thought, effort, and passion invested in this film. But I am more then willing to give him a chance to explain, listen to his ideas and thoughts, and possibly agree to disagree. I will be as polite as possible.

I’ve already admitted I am surprisingly not as angry at this series as I initially believed I would be. Face it, beyond the whole David sticky wicket, the story is a overall decent interpretation of the threads left undone by the film’s end.

Having now emailed Mr Seeley, I honestly tried very hard to keep it on track. It’s hard, being passionate and already burned by three horrible, disastrous entries into the canon, to not freak out. Fortunately, it is nearly impossible for me to be tactless, so I have that going for me.

Yes. I totally brought up David. That was the one thing I could not let go of. That’s on me.

Anyway, now we wait and see.

Clarification – it IS a 6 issue series. Which makes sense, because damn, it’s moving slowly.

So. Issue #2 of The Lost Boys. Well, it picks up right where we left off…

***

 

 

SPOILERS FROM HERE ON OUT. YOU’VE BEEN WARNED.

 

 

***

Grandpa’s dead and for some reason they’re having Lucy identify him via photograph? Huh?

The three-score claw marks on his back are apparently a “gang tag”. Okay. And in Santa Carla this isn’t a supernatural problem but a “gang” problem, the “tag” being used to scare citizens. Okay.

Y’know, I copped out and used a nationally-known gang as a cover for vampires in my fan fic epic, so, yeah. I’m not even gonna nitpick on that, really. (Although I wish I had thought to combine them and call them “BLIPS” like in Keanu. Damn.)

Edgar and Alan decide that there’s no old guard anymore, they’re all dead, so they’re the last of the vampire hunters in town. It’s their shining moment, their call to arms, blah blah blah. I’m sorry, I’m still annoyed by Reign of Frogs. At least in Vertigo’s The Lost Boys they’re keeping it on the level and reality-based, as opposed to the ridiculousness in Reign of Frogs.

Everybody’s sad over the loss of Grandpa (hey, he got a MUCH BETTER end then the bullshit he got saddled with in Reign of Frogs. OKAY I’LL TRY TO STOP NOW.) and Lucy is bummed and Sam’s like “I’m the one that fucked up!” and Star runs out on everyone, saying it’s her fault (NO COMMENT *snort*) and she has to… well I’m not sure if she said she had to stop it or just leave before Michael & co get hurt, but that’s the justification she’s using.

Her hair is still huge, so there’s that.

And Laddie calls Lucy ‘Grandma’. What?

Sam, Edgar, and Alan review footage from the comic store, where of course the mystery girl from issue #1 doesn’t show up because she’s… you guessed it.

Here’s my problem with this: if the supernatural laws of this world mean vampires don’t have reflections in mirrors or show up in photographs, or on video footage, what if the video footage includes sound? Because it’s implied that you are hearing Sam speak to someone but this is like 1987 and surveillance footage (even NOW, in 2016) doesn’t usually include SOUND. At least not to my knowledge.

And the girl clearly asks him questions and answers him, so IF SHE DOESN’T SHOW UP PHYSICALLY, WOULDN’T HER VOICE STILL BE HEARD?

I’m callin’ fucking PLOT HOLE on that one.

Yadda yadda, the Frogs leave Sam at Grandpa’s because he’s got too much to lose and they don’t (???) so the Frogs take clues and head back to the Cave, where they find someone’s been up to something and it’s recent.

Yet again, I’m like “when does this take place?” because sure, it’s supernaturals at work, but still, stuff takes time. And because (as of issue #2) we don’t know how DAVID ISN’T DEAD (like, what, Grandpa the almighty vampire hunter wasn’t smart enough to throw his corpse out in the sun!???!) fuck I lost my train of thought. I’m still pissed about that!

Okay, so anyway, yet again I’m thinking Tim Seeley read some fan fic, because shit happens that I know I’ve written (although never publicly published, at least not to my knowledge) and I’m pretty sure has come up in OTHER PEOPLE’S FAN FIC and yeah. Ta-da, the Frogs discover the new… nest? coven? gang? WTF is the stupid label this comic is using? of vampires!

And immediately realize David’s there, too.

Then one of them asks ‘didn’t David explode?’ WHICH PISSES ME RIGHT THE FUCK OFF.

There’s a line where one of them says they’re going to pick off the vampires like they did with Marko. That I let slide; Paul named Marko, literally, when he yelled at them “YOU KILLED MARKO!” so they would likely remember that. But to not know that David wasn’t the one who exploded? No, they were upstairs crying while Paul melted in the tub, so they didn’t see Dwayne explode but still. This brings it back around to WHY DIDN’T THEY TAKE OUT DAVID WHEN HE WAS ALREADY SUPPOSEDLY MORTALLY WOUNDED??

There was something in issue #1 where, I believe Edgar said something about knowing he should have “put another stake” in David. WHY DIDN’T YOU????

So here we are, ANOTHER GIANT FUCKING PLOT HOLE THAT IS REQUIRED TO GIVE CREDENCE TO THE “REVENGE” PLOT.

Ugh.

I will, and this is huge for me, concede that the art for David is not horrendous. Not like whatever the fuck happened to him in Reign of Frogs. Apparently he got a stylist or something but the tennis shoes? Um, no? No. No.

Without going full on plot spoilers, something really fucking weird happens to the Frog Brothers (??? WTF??? I can’t wait for the explanation of THAT one but I’m sure it involves LADDIE! And probably Star, since there’s spoilers in the synopsis blurbs on the Vertigo website. Sigh.)  And Edgar tries to contact the Emersons to warn them, but David kind of, literally, crushes that. Heh.

Where was I. Right. So in the box of personal effects that the Santa Carla PD bring to the house, they make a big fuss over this “application” (which was thrown in the garbage in issue #1, so how did it escape the fire?) and the police “checked it out” and blah blah blah and Sam is like, “who is it???”

sergio

Well, minus the Jon Hamm part, and minus the name Sergio. But yes, it is the shirtless, muscle-bound saxophone player just the same. He’s the mysterious vampire hunter who kept getting denied admission into the SC…whatnot club.

And he’s like huge into spiritually, and “my body is a temple” and wish I had a photo of my face while reading all that because… well, here:

igi8g6

This meme is so useful for me.

Yeah. It ends with not Sergio (I would go get the comic and look up the name the writer gave the character but I am lazy and don’t want to get up; also, why is it oh-so-very-blatantly Greek? Is there gonna be some kind of “my forefathers fought vampires in Greece” kind of deal? If they go there, I called it first!) oiling up (yes, oiling up) and I dunno, man.

Oh. OH! And he calls himself “The Believer”.

100percentsoft_believer

(image from 100% Soft.)

Summation: I am actually not as angry over this as I thought I would be. As admitted in the previous post about issue #1, the story line isn’t so far-fetched and is reasonable enough that it’s believable. The art is decent. It’s not mind-blowing, they didn’t fuck up David as bad as I feared. The others are passable; I’m not real sure about the female vampires, since very little of them has been shown but I’m still worried about that being disappointing. They have a feel like they’re sort of the Spice Girls but “edgy” but also horrible archetypes and that worries me. (One is wearing a pearl necklace, another is tattooed with a mohawk; I’m not holding out hope here.)

I’ve proved over and over again that I’m OCD about details, particularly plot, so I’m wondering how the Emersons just magically took over Max’s video store, where the Frog parents are, why Star isn’t at all forthcoming about anything (clearly that’s going to be a MAJOR PLOT POINT but still), why is Laddie still around, and where’s Thorn? (Okay that last one is kind of a running joke between a friend and I, so I doubt it will get answered. Clearly the hound of hell returned to Hades on Max’s demise.)

Overall, considering I was angry at the announcement of this series, then entirely forgot about it, then randomly discovered it again, I’m kind of torn because it’s not that bad. It’s decent, which is me practically recommending it, which I kind of am? But I’m also still terrified, because there’s four issues to go and a lot could go VERY WRONG in those issues.

Cover of issue #3 clearly shows the Giant Dipper, with Sam fighting off one of the female vampires (who has pointed elf ears?? And giant, clawed feet? Oh boy…) and issue #4’s cover is Sam and Sax Dude, complete with sax!, crawling around in what I’m guessing to be the Cave.

If the Believer is some sort of Pied Piper who controls vampires with his sax, I’m done.

Well, until December, when issue #3 drops, we’ll just have to wait and see.

PS: I kind of want to email Vertigo and ask if I can interview Tim Seeley about this, where he was coming from, where he got the plot ideas. Because I want to know.

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