First Love is Snatch with Sword Fights [Blu-Ray Review]

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Wicked Horror is the author of First Love is Snatch with Sword Fights [Blu-Ray Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Early on in First Love, the main character, Leo (Masataka Kubota), is in a boxing match. When he punches his opponent in the face, there’s a quick cut to a decapitated head bouncing out of an alley. The edit and the timing are done in a way that implies that the force of punch literally knocked the head off of Leo’s opponent. Like the film, that cut was amazing.  The decapitation introduces the main conflict of First Love. As detective Fu (Nao Ōmori) puts it, “The smell of war is in the air.” A Chinese gang has moved onto the territory of a Japanese one. A low-level Japanese gangster, Kase (Shôta Sometani), and Fu Fihave a plan to steal a big ole’ bag of meth. After, they’ll frame Monica (Sakurako Konishi), a young woman whose father sold into sex work to pay off his debts. Fu will sell the drugs. Kase will get into a fight with a civilian and spend two or three years in jail. When he comes out, the war will be over. Fu will give him his half and Kase will be a rich man.  What could go wrong?  For Kase, “an up-to-date Yakuza, [who grew up] globally,” it turns out absolutely everything. Monica has been doing meth and withdrawal has made her delirious. As she walks down the street with Fu, she hallucinates her father running toward her and flees, screaming for help. Leo, who had just been diagnosed with terminal brain cancer, wouldn’t normally get involved, but takes the opportunity to knock Fu out. He feels good for a minute, then spots Fu’s badge on the ground. He and Monica go on the run.  For Kase’s plan to work, he needs to find them, but the more time passes the more the two warring gangs get involved. They’re all looking for the drugs. They’re all hunting Monica. Leo is a wild card, not connected to either gang but capable of kicking any of their asses.  More than anything else, First Love reminded me of Guy Ritchie’s Snatch. They both have huge casts, and manic energy as the characters scramble for the films’ respective MacGuffins. What director Takashi Miike brings to the table that Guy Ritchie didn’t was sword fights. It takes the wildness to a-whole-nother level.  The entire cast turns their performances up to 11, matching the insanity of Masa Nakamura’s script. While everyone involved deserves kudos, the single-name actress Becky is spectacular as Julie. After being kidnapped at gunpoint, she overpowers the man who captured her and delivers some of the best lines of the film as she stomps on him. “Don’t spill your blood on my pants. I won’t be able to wear them again,” and “Don’t get out of this by dying.” She says them with such umph that she elevates what was already an excellently scripted scene.  The film, while mostly a crime comedy, has at least one terrifying moment. That horror trickles in will come as no surprise to anyone who’s seen Miike’s classic Audition, one of my favorite horror films. Monica is alone in between clients and coming down from the drugs, and the camera zooms in on a white comforter. Slowly, it expands, as though there’s someone or something growing inside it. It has a similar quality to Asami’s sack in Audition.  Related: Audition: Disturbing Torture Film or Black Romantic Comedy? First Love isn’t a perfect movie. The ending is sickly sweet, but the ride to get there is fun as hell. It exudes energy, drawing viewers in and keeping them rapt for the full hour and forty-eight minutes. Miike and Nakamura find a way to keep topping themselves, as the movie gets progressively wilder.  The other disappointment is the lack of special features on this Blu-Ray. The only one included are trailers for First Love, which I honestly wonder about. Who’s watching the trailers for a movie they own? Did they not know what movie they were getting? Will they return it if the trailer isn’t to their satisfaction? Even without special features, First Love is a lot of fun.  Wicked Rating – 9/10 Director: Takashi Miike Writer: Masa Nakamura Starring: Masataka Kubota, Nao Ōmori, Shôta Sometani, Sakurako Konishi, Becky Release: February 11, 2020 (Blu-Ray and Digital) Language: Japanese Runtime: 108 minutes Follow us on social media! Twitter, Facebook, Instagram, and Youtube.

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VFW Director Joe Begos “Wants You to Have Feelings When You’re Looking at an Image” [Interview]

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Wicked Horror is the author of VFW Director Joe Begos “Wants You to Have Feelings When You’re Looking at an Image” [Interview]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Joe Begos is having a breakthrough. Last year’s Bliss was a tour de force, taking viewers into Dezzy’s (Dora Madison) world while she struggles to figure out if she’s turning into a vampire or tripping too hard. It earned a 91% on Rotten Tomatoes, and good reviews here from Joey Keogh and me.  The success helped him get his next film, VFW produced by Fangoria Films. VFW tells the story of seven veterans—played by genre stalwarts Stephen Lang, Martin Kove, William Sadler, David Patrick Kelly, George Wendt, Fred Williamson, and newcomer Tom Williamson—getting mixed up with “mutant” drug addicts next door. The two factions wage war against one another. It’s brutal and excellent.  We caught up with Begos to talk about it ahead of its Valentine’s Day release.  Wicked Horror: VFW marked a few firsts for you. It’s the first film you directed that someone else wrote. What was that experience like?  Joe Begos: It was something that I always wanted to do, but the right script never came along. I enjoyed the experience because I didn’t have to write the f***ing thing. Writing’s the most pain in the ass part.  It was really hard to familiarize myself with the material because when I’m writing as a director, as a technical person, I always think things through. How is this thing going to be staged? How is it going to be lit?  When I come into a script that’s already written, it’s hard to visualize it from top to bottom. Rewriting helped with that a little bit, but that was the weirdest thing about it. I’d be open to doing it again if the right script came along. I wanna crank out a few of my own first. Kind of get back into my mindset of what I do.  Does that make sense?  WH: It does. You don’t have the same creative scaffolding when someone else writes it.  Joe Begos: Yeah. You’ve got to build it or find your way into it.   WH: VFW was also your first film with Fangoria Films. How did that differ from producing your own films?  Joe Begos: It’s much different. They’re both really low budget movies, but Fangoria has the ability to bring a little bit more money to the table, to get a better cast, stuff like that. I’ve done three movies that I’ve produced. I raised the money. I went from a blank page to getting that shit in theaters myself, with my production company. Doing that three times in such a specific way and then coming into a movie that not only did I not write, that I’m not producing, was interesting.  We both had very specific ways to make movies, and we were able to meet in the middle and use each other’s strengths to our advantage. It’s definitely something that’s hard to come into. You know, I haven’t had anyone tell me what to do in a decade. It’s f***ing weird. If someone tells me what to do, I don’t react well to it. But Fangoria gave me a lot of freedom. I had final cut.  It’s just different going into a mechanism like that when you have such a singular view of something.   WH: You mentioned that you’re working with bigger name performers in each film, especially in VFW. Do you ever get star struck?  JB: I never get star struck, but I was nervous because there’s eight of these guys in there and you don’t know how their egos are going to be. You don’t know how they’re going to feel about being directed by someone who’s half their age. You hear horror stories about how a lot of these older guys are d****bags. They don’t give a f*** anymore and they don’t want to be there. None of these guys were like that.  I had anxiety about that before I started. I was nervous, but once we started rehearsing it went away. I saw how rad everybody was. They actually wanted to be there and make the material good. It was amazing. It definitely wasn’t a payday, because I know how much everybody got paid. [Laughs].  WH: VFW and Bliss have a markedly different visual style than Almost Human and The Mind’s Eye, with lots of reds and blues along with strobing lights. What inspired that shift?  Joe Begos: My mindset grew organically. When I made Almost Human and The Mind’s Eye, I was so young. My life experience was watching movies in my basement and getting stoned. I was going to make movies that felt like the movies I watched. Then, there was a big gap of time, where I formed myself. I got that out of my system. It let me put more of my own self into the movies.  I was like, “You know what? F*** it. I’m going to put my brain into the movies. F*** cinematic rules. F*** what anybody thinks about what I should’ve done. I’m just going to put my brain on the f***ing screen. That’s what I want to do.”  And that’s what I did with Bliss. That’s how my living space is designed. You know, my walls are purple and black. There are neon lights everywhere. I’m a night owl. I do a lot of substances while I’m creating stuff, and I’m always f***ing procrastinating my work. I’m going to make a f***ing movie that is like my life.  I’m kind of now approaching material like that, where it’s not like “I’m going to be a bad boy” but I’m going to approach s*** like in the f***ed up way I see stuff in my brain and that’s it. Now I realize that there’s a niche for that. There’s not a lot of other people making movies in the very secular little realm that I am. I realized that maybe I should run with my f***ed up brain on film.  WH: I loved Bliss too. It felt much rawer than your earlier work.  JB: I wanted to be very distinct. You know the way you mentioned the way the movies looked and the visual style. I feel like the way horror’s moving with very few exceptions looks so bland and lame these days. Everything is so blown out, and digitally shot, and the exposure is so high. Everything is so bright. I’m so sick of movies that are shot in f***ing locations where there’s zero production design. It looks like an Airbnb. Every single f***ing light is on. There’s no shadows.  This isn’t what horror movies are supposed to look like. I want my movies to look sensational. I want them to be dark. I want you to not know what’s a shadow. I want you to feel grimy. I want you to have feelings when you’re looking at an image. I don’t want to look like a Netflix f***ing show of the week. I can’t stand how horror looks.  Bliss was a reaction as a whole, the way it looks, the way it feels, to the way horror is being done now. VFW is an organic extension from that.  RELATED: Director Joe Begos Talks Bliss [Frightfest 2019 Interview] WH: You’ve killed Graham Skipper‘s character in every film you’ve made. Do you ever plan to let him survive?  Joe Begos: No. [Laughs] WH: Where did your production company Channel 83 get its name?  Joe Begos: It is the channel that Max Renn in Videodrome runs.  WH: What are you working on next?  JB: I’m writing a few different things. I’m not sure which one will get financed if any. I’ve got to keep a lid on that. Don’t want to jinx anything. Hopefully something will get going sooner rather than later.  WH: February is Women in Horror month. Do you have a favorite female director you’d like to shout out?  JB: My favorite independent horror director right now is Jen Wexler. She’s f***ing really awesome, and I’m looking forward to her follow-up to The Ranger. The Ranger is on Shudder now.  RELATED: The Ranger is Bloody, Smart, and Unpredictable [Frightfest 2018 Review] Follow us on social media: Twitter, Facebook, Instagram, and Youtube

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The Lodge is One of the Best Horror Movies of 2020 [Review]

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Wicked Horror is the author of The Lodge is One of the Best Horror Movies of 2020 [Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

I couldn’t have chosen a better day to watch my screener for The Lodge. In terms of the weather that is. On that particular day, the wind was fierce; the rain was pouring hard; and I nearly busted my a** walking on a couple patches of hidden patches of ice. As miserable as this sounds, I tried playing an optimist. And really, watching a movie about a blizzard on a cold and dreary day was pretty perfect.  I didn’t go into The Lodge with any special expectations. All I knew was that the trailer looked promising and hinted at some kind of cult situation; who doesn’t love a good cult? I didn’t expect to stumble upon one of the best horror movies of the year. And so early into 2020. But that’s precisely what happened. Maniacal, cunning, and thrilling, The Lodge has found a special place in my heart and thoroughly chilled me to the bone, I simply cannot give it enough praise. Also See: The Real Life Mystery That Inspired The Lighthouse The Veronika Franz and Severin Fiala directed film follows Grace (Riley Keough) who tries to win over her soon-to-be step children Aiden (Jaeden Martell) and Mia (Lia McHugh) on a holiday vacation in a remote village. Just when the tension between Grace and the kids begins to thaw (get it?), Grace’s fiancé Richard (Richard Armitage) is called away for work. When a blizzard leaves the trio snowed in, things take a sinister turn as Grace begins to hear voices. Things go bump in the night, items go missing, and cryptic patterns appear in the snow outside.  Could this be the work of a malicious spirit? Or does it has something to do with Grace’s mysterious past?   This eerie thriller certainly left me plenty to digest afterwards. More so, after a second viewing, it raised an interesting question for me: What does it take to consider a movie a “classic”? Does it have to do with directorial technique? The big stars attached to the project? From a film lover’s perspective I’m entitled to believe both of those things have something to do with it. But not everything. In a 1992 issue of the Director’s Guild of America, executive Diane Carins gave an interesting perspective on what makes a flick a classic, describing “A film that captures a past generation’s heart, challenges a present generation’s mind and nourishes a future generation’s soul.” Also See: Season 3 of Chilling Adventures of Sabrina is its Best Yet! I believe it has a lot to do with feeling as well. It’s like when you taste your favorite dish for the first time. You just know that not only is this going to be a part of your life for a long time, it’s something you’ll never get sick of. No matter how many times you experience it. And much like my favorite dish (Mac N’ Cheese, thanks for asking) I knew my first experience with The Lodge would be the first of many to come. The phrase ‘instant classic’ doesn’t even scratch the surface here. I’m gonna need a DVD copy, merch, and the whole nine yards. This truly twisted slow burn is guaranteed to keep viewers on their toes, unlocking a certain prose that leaves one feeling incredibly high strung yet desperate to know everything. No matter how horrified it may leave you. What starts off a story with all the trimmings of a campfire haunt, gracefully morphs into a bloody cautionary tale that belongs in the same book as Hansel and Gretel. Experience the terror that is The Lodge now in select theatres! Wicked Rating: 9/10 Director(s): Veronika Franz and Severin FialaWriter(s):Veronika Franz, Severin Fiala and Sergio CasciStarring: Jaeden Martell, Riley Keough, Lia McHugh and Richard Armitage Release: February 7th, 2020Language: EnglishRuntime: 108 Minutes  Follow us on social media! Twitter, Facebook, Instagram, and Youtube.

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Evil Dead (2013) Director Producing Texas Chainsaw Massacre Reboot

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Wicked Horror is the author of Evil Dead (2013) Director Producing Texas Chainsaw Massacre Reboot. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

The Texas Chainsaw Massacre franchise is like Whac-A-Mole. Just when we thought the ill-conceived Leatherface had put the brakes on attempts at prequalizing, sequelizing, and rebooting the series for a beat, another project has popped up. Ryan and Andy Tohill (The Dig) have closed a deal with Legendary Entertainment to (re)reimagine Tobe Hooper’s 1974 The Texas Chainsaw Massacre. Chris Thomas Devlin will pen the script with Fede Alvarez (Evil Dead 2013) and Rodolfo Sayagues set to produce, reports Variety.  Related: Leatherface is the Least Compelling Character in His Own Movie [Review] Do we need another reboot? Certainly not. New Line released a crowd-pleasing reimagining in 2003. But will I watch it? Probably. And as long as people keep turning out at the box office, we will continue to see an onslaught of remakes, reboots, spiritual sequels, prequels, and the like. The 1974 original follows a group of friends driving through Texas who make the fateful decision to pick up a hitchhiker. In doing so, they veer off course and cross paths with a clan of blood-thirsty cannibals. As far as where the reboot will take the story, Legendary is keeping that under wraps. But we will update you as soon as we have more to report!  

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Dead Earth is Tragic for All the Wrong Reasons [Review]

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Wicked Horror is the author of Dead Earth is Tragic for All the Wrong Reasons [Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Dead Earth is a post-apocalyptic thriller following two women, Sylvia (played by Milena Gorum of The Driver) and Rose (played by Alice Tantayanon of The Driver) who have survived the initial zombie outbreak and have sought refuge in some sort of resort. Dead Earth is a pseudo origin story and/or sequel to The Driver, which is also about the zombie apocalypse. A lot of time has passed, so Sylvia and Rose are getting restless at their undisturbed existence. They constantly patrol the resort, ensuring that they are still safe, and carefully rationing resources. However, the only thing they cannot account for is the boredom they experience. Also see: Season 3 of Chilling Adventures of Sabrina is the Best Yet The first thing that stood out to me when watching Dead Earth was the fantastically awkward and forced relationship between Sylvia and Rose. These two characters have absolutely zero chemistry besides smiling at each other once in a while, but as a viewer I am supposed to believe they are somehow romantically involved? Now, as an LGBTQ+ person I am thrilled when I see LGBTQ+ representation on the screen, but Sylvia and Rose are one of the least believable lesbian couples I have ever seen. Their screen time felt like a screenwriter’s fantasy of a lesbian couple during the apocalypse. They barely look at each other, laugh together, or even seem like they genuinely like each other for the first part of the movie, but you want me to believe they have incredibly hot sex? Nope, I am not buying it. Further, during the sex scene, the camera is permanently fixated on their breasts. I wish I was kidding, there are other examples, but I’ll leave it at that. Besides the unrealistic relationship dynamic, Sylvia and Rose have life surprisingly easy during the end of the world. Case in point: During the first act, they do yoga, go swimming, make art, watch movies, and read books in the cleanest post-apocalyptic environment I have ever seen. Which, by the way, has no good fencing or protection around it, yet I’m supposed to believe that all is well because they are just that vigilant? Hard pass. There is an initial scene where Sylvia is doing yoga and you can clearly see they are wide open from all sides and although this is a work of fiction, realizing they had no protection gave me a proverbial rash from the stress. Oh and after the first two acts, Dead Earth finally decides to introduce zombies and background information regarding the unhappy couple that makes absolutely no sense. The end sequence just falls flat because Sylvia and Rose are not allowed to develop, there is nothing to cling to or be invested in, and then the film is just over. Also, the zombies make annoying animalistic sounds that I am sure will haunt my nightmares. Dead Earth had so much potential to tell a different kind of story. Maybe I would have been more invested if I had seen The Driver, but sequels, prequels, and the like. should always be strong enough to stand on their own. This was a wasted opportunity for accurate LGBTQ+ representation, a break from typical zombie stories that just squandered the potential of a unique idea. WICKED RATING: 2/10  Director(s): Wych Kaosayananda Writer(s): Wych Kaosayananda, Steve Poirier Stars: Milena Gorum, Alice Tantayanon, Brian Migliore Release: January 28, 2020, DVD, Digital, and On Demand Studio/ Production Co: Kaos Entertainment Length: 81-Minutes Language: English Follow us on social media! Twitter, Facebook, Instagram, or Youtube.

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The Real Life Mystery That Inspired The Lighthouse

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Wicked Horror is the author of The Real Life Mystery That Inspired The Lighthouse. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Visionary filmmaker Robert Eggers rose to notoriety back in 2015 with the Sundance debut of his film, The Witch. Four years later, Eggers dazzled us again with The Lighthouse, a hypnotic and hallucinatory tale of two lighthouse keepers (Willem Dafoe and Robert Pattinson) on a remote and mysterious New England island in the 1890s. As an approaching storm threatens to sweep them away and strange apparitions emerge from the thickening fog, each man begins to suspect that the other has become dangerously unmoored. Both of their behaviors become increasingly more erratic and odd, making for possibly the strangest movie watching experience of 2019. And one of my personal favorites of said year. Also See: Robert Eggers Helmed Nosferatu Remake off the Table for Now [Exclusive] Now if you’ve seen this movie, it may come as surprise that Eggers drew inspiration from a real life incident for his sophomore film. Maybe not to the extent of sexy mermaids washing up on shore or tentacled monsters living in the lighthouse’s light. However, Eggers did take inspiration from the true story of a pair of lighthouse keepers as he told Vox in an interview, “…How much truth there is to this ‘true’ story, who knows…Very little of that story aside from the fact they’re both named Thomas came into The Lighthouse, but the idea that they were both named Thomas struck a chord. I was like, ‘Okay, this is a movie about identity, and can devolve into some weird, obscure places.” Also See: This Sinister True Story is Reminiscent of Don’t Breathe The incident in question, now exactly 219 years old, is none other than the mysterious Smalls Lighthouse tradgedy of 1801. The story starts with our lighthouse keepers Thomas Howell and Thomas Griffith. In all my prowling on Google, I haven’t been able to find anything on either man prior to this incident; except how often Howell and Griffith fought. The duo reportedly disliked each other and often argued in public. So, when they were stationed at the Smalls Lighthouse off Marloes Peninsula Pembrokeshire, Wales in 1801, tensions were no doubt high. The details get a little fuzzy when Thomas Griffith dies. Some reports claim his death was the result of a freak accident, while others state Griffith succumbed to a mysterious illness. Either way, Griffith died just a few weeks after his arrival at the lighthouse. Howell feared that if he were to throw Griffith’s body into the sea the authorities would accuse him of murder. Remember, they fought constantly. It wouldn’t be a stretch to imagine an argument escalating into murder. In fact it would be pretty sound logic. Related: The Lighthouse is a Dazzling Must See [DVD Review] But as Griffith’s body began to decompose and no doubt smell, Howell decided to build a makeshift coffin then tie it to one of the railings outside one of the lighthouse windows. As time went on, a brutal storm began to close in, this made it impossible for boats or crew to reach Howell. Things took a sinister turn when strong winds destroyed most Griffith’s coffin. This led to the corpse being on full display for Howell to see from the island’s hut. The wind would even catch one of Griffith’s arms so it looked like the corpse was waving. It was as though Howell’s old nemesis was screwing with him from beyond the grave. Gotta love a ghost that doesn’t forget the past. Despite the poor weather, low supplies and the waving corpse taunting him, Howell managed to keep the lighthouse’s lantern lit along with maintaining his other duties. After four months (yes, you read that right) Howell and Griffith were finally rescued from the island. The incident brought about a change in lighthouse policy to make teams rosters of at least three people on at any time. It also left Thomas Howell a shell of his former self. It was reported that even his closest friends couldn’t recognize the now white haired Howell. Also See: Is Murder by Numbers Based on a True Story? The Smalls Lighthouse incident has inspired several works of media aside from Eggers’ film. Said works include the 2011 BBC radio play The Lighthouse written by Alan Harris, the 2016 Chris Crow directed film (also called The Lighthouse), and the 2018 chamber opera For Those in Peril composed by Francis Lynch. Now let’s breakdown the similarities and differences between the film and the mystery that inspired it. Spoilers ahead! Time and Location While the Smalls incident wasn’t documented particularly well, we do know Howell and Griffith were stationed to the island sometime in 1801. However The Lighthouse takes place sometimes in the 1890’s in New England. Thomas and Thomas A tiny nod to Howell and Griffith can actually be found about halfway into The Lighthouse. After a long night of drinking Robert Pattinson’s character, Ephraim Winslow, spills the beans on his strange past and confesses to his partner Thomas Wake (Dafoe) that Ephraim Winslow isn’t even his real name; it’s Thomas Howard. Cause of Death Throughout the film Howard and Wake quarrel for the most part. Their final argument ends with Howard killing Wake. At first by trying to bury him alive then finally finishing the job with an axe to the head. In the case of the Smalls incident, Griffith’s cause of death is technically undetermined. It’s likely he died from an illness or an accident. But murder isn’t entirely out of the question. A Happy Ending? The Lighthouse ending is a symbolic headscratcher that shows Howard finally getting to look at the sacred light before slipping and falling down the a spiral staircase. Then he seen being eaten alive by several seagulls. With Smalls there is technically a happier ending. Eventually there was a rescue effort. Griffith was most likely given a proper burial and Howell walked away from the whole situation with severe PTSD. But, most would count that as a fate preferable to death. Research Sources: The Haegtesse: The Smalls Lighthouse Incident Refinery 29: Robert Pattison’s Spooky New Movie The Lighthouse Was Inspired By A Spooky True Story VOX: The Witch Director Robert Eggers Spills His Beans About The Lighthouse Follow us on social media: Twitter, Facebook, Instagram, and YouTube!

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The Butcher of Paris #3: The Law of the Jungle [Comic Review]

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Wicked Horror is the author of The Butcher of Paris #3: The Law of the Jungle [Comic Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

True crime succeeds or fails based on how well it avoids exploiting the real life murders it portrays. The best true crime tends to empathize with the victims or the investigators, while analyzing the killer with a sort of detachment. The killer is, and always will be, the most engrossing part because readers/listeners/viewers want to know what went wrong. The audience is asking primordial questions: How do I spot that kind of person? How do I make sure I’m not next? There needs to be a balance between the victims, the killers, and the investigators, which is where The Butcher of Paris #3 “Law of the Jungle” falls short.  The third installment of the Dark Horse comic series focuses on the same two major plotlines the series has been focusing on: the father and son investigation team and the Nazi investigation. The two are at odds, with the window to catch Petiot quickly closing as Allied Forces creep closer to Paris.  The first three pages of “Law of the Jungle,” following Petoit, are the most fascinating in the issue. He rants about colonialism in a trench during World War I, saying, “Morality was created by those who possess so you do not retake what they have already stolen from you.” What makes it so interesting is that I agreed with him, and before I realized it was Petoit talking kind of liked him. It was instantly revolting to realize who he was. None of us want to share views with serial killers.  Unfortunately, the rest of the issue doesn’t reach that level. It gets much more comfortable, going through generic interviews with people in Petoit’s life. None of them believe him capable of the crimes he’s been accused of. He tortured small animals. The details are real (as is this book), but feel so familiar they’ve lost their bite.  Absent from “Law of the Jungle,” and the two previous issues, are stories of the victims. They’re who audience needs to relate to. The tragedy of their murders should be at the forefront of the story, or else it starts to feel too much like an adventure. There’s nothing wrong with having fun in stories. Yet, it doesn’t feel right to enjoy a story about someone who used the Holocaust to coverup murdering Jewish people trying to escape Nazi-occupied Paris.  Wicked Rating – 4/10 The Butcher of Paris #3 “Law of the Jungle” will be available from Dark Horse Comics February, 5 2020.  See our coverage of previous issues here –  Issue 1 / Issue 2 Follow us on social media: Twitter, Facebook, Instagram, and Youtube

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