Paul Brian McCoy is the Editor-in-Chief of Psycho Drive-In. His first novel, The Unraveling: Damaged Inc. Book One is available at Amazon US & UK, along with his collection of short stories, Coffee, Sex, & Creation (US & UK). He recently contributed the 1989 chapter to The American Comic Book Chronicles: The 1980s (US & UK). He also kicked off Comics Bulletin Books with Mondo Marvel Volumes One (US & UK) and Two (US & UK) and PDI Press with Marvel at the Movies: 1977-1998 (US & UK), Marvel at the Movies: Marvel Studios (US & UK), and Spoiler Warning: Hannibal Season 1 - An Unauthorized Critical Guide (US & UK). Paul is also unnaturally preoccupied with zombie films and sci-fi television. He can be found babbling on Twitter at @PBMcCoy.
Whenever the show shifts gears and focuses on two or three characters alone in a room interacting, you can trust in the skills of the performers to make it work.
And then we're off into our new totally sincere and cynicism-free adventure, taking Riddick back to the basics in what is an action-packed showcase for Diesel.
Maybe Fright Pack isn't nearly the wallet-gouging money-grab it seems to be at first glance. Maybe it’s a way to trim the fat from the show and just grab the highlights.
The opportunity to keep the film grounded in the neo-noir stylings that make the first two-thirds of the film work so well is simply tossed out the window in an inexplicable shift in tone and attitude that does absolutely nothing positive.
Without the glimpses into the darkness we wouldn't get that wonderful flash of disgust and self-hatred as Will asks for a plastic sheet so he can lie in the Angel Maker's bed.