Movie review: I Kill Giants

(image courtesy IMP Awards)

 

If there is one thing that life is very good at doing with its myriad unexpected twists and turns, its delights and its traumas, it’s making us feel like we have absolutely no control over anything.

Time and again, our attempts to rein in the unruly beast of life comes to nothing, our best-laid plans faltering and failing in the face of odds so overwhelming we may wonder if we will ever prevail, if we even have a chance of prevailing.

It’s hard enough to deal with these situations as an adult but even more difficult as a child or teenager when life experience and emotional nous are in their formative stages and our capacity to react in any kind of meaningful way is stymied at every turn by our lack of understanding and limited perspective.

Barbara Thorson (Madison Wolfe) knows exactly what you’re talking about, or she would if she understood precisely what was happening to her.

When we meet her, she is what her brother rather derogatively terms a “nerd queen”, a Dungeons and Dragons-addicted girl barely into her teens who is grappling with the kind of trauma most of us don’t have to face until well into our lives.

We are not made privy to the exact nature of the trauma until well into the film, a narrative reveal that feels like it arrives at just the right moment, shedding light and truth onto many of the events preceding it, but thanks to a nuanced and skillful screenplay by Joe Kelly, who wrote the graphic novel of the same name on which the film is based, we never once feel like we’re in the dark about the forces assailing Barbara.

She is clearly someone in existential pain of the highest order, escaping into a fantasy world built upon an intense appreciation of Norse folklore in which Barabar is a giant killer, a person who triumphs over forces beyond the control of everyone else, the one person in her hometown who keeps everyone else safe.

 

(image courtesy RLJE Films)

 

It’s never suggested for one moment that the giants Barbara faces, and about which she knows a prodigious amount – it’s the one topic of conversation she is happy to talk about, telling new friend Sophia (Sydney Wade) about them in detail, the one time the taciturn social outcast ever lights up – are real.

But then, as in A Monster Calls, no one, initially at least, fully appreciates what the giants, and her ability to take them on and win, means to Barbara; it’s only when freshly-installed school therapist Mrs. Mollé (Zoe Saldana) takes a special interest in the disaffected young girl, who is the target of some vicious bullying by a mean girls clique led by Taylor (Rory Jackson) that the truth about the giants emerge and we slowly come to see why it is that Barbara has taken on the persona of all-conquering heroine.

Her devotion to her calling is near-absolute – from the well-equipped cave-shack on the beach filled with all kinds of tools and gadgets to the traps she lays through the woods where she tests various combinations of food to see which the giants favour to the hours she spends roaming the town in which lives looking for black omens such as flocks of black birds and weird oceanic disturbances, she has no time or patience for anything or anyone else.

Whether it’s her older Karen (Imogen Poots) who’s doing her best to keep the household of five siblings together, or new friend Sophia who can’t quite figure out her aloof, strange friend, or Mrs. Mollé, if you’re not part of the giant-subduing solution, you are very much part of the problem and not worth Barbara’s time or attention.

Because of this, Barbara has the potential to come across as thoroughly dislikable protagonist, but in the hearts of Wolfe, and the wise words of Kelly and careful direction of Anders Walter guiding her, she instead comes across as raw and vulnerable, someone who is lashing out and falling in on herself because she can find no other way to cope with life.

She is not inherently an awful person and I Kill Giants succeeds as well as it does, because so many layers are added to the character, layers which are carefully, thoughtfully and sensitively peeled away in a way that makes sense and which increasingly makes your heart go out to a young woman in a great deal of pain.

 

(image courtesy RLJE Films)

 

So skillfully are the reasons for Barbara’s surly disengagement with the world around her, one which doesn’t make sense to her unless it is couched in terms of giants and giant killers, revealed that by the time the great reveal takes place you have become deeply invested in her welfare.

You have also, if you have ever experienced overpowering, inexplicable trauma of any kind, the sort that defies your ability to understand, reason or successfully overcome it, readily-identified with Barbara to such an extent that watching the last half hour of I Kill Giants feels like someone has taken your heart out, stomped on and put in back in again, in the best possible way.

Is there a good way to have your heart broken? In the context of this film, most certainly, and you ache and weep and feel so deeply for Barbara in her ever-more disquieted world of monsters, traps and fires, battles and showdowns that you wonder if you’ll ever be able to breathe again.

It’s that emotionally-affecting and that viscerally, beautifully real, a film with quirky indie underpinnings and a captivatingly grim, grey stormy look that is anything but remote and distancing, bringing you ever closer with ever slow-burning, unhurried scene, to the realisation that Barbara is ever single one of us who has ever faced the worst life can throw at us and wondered if we’re strong enough to make it through.

That’s the central truth of I Kill Giants in the end – that no matter how ill-prepared we feel we are for life’s calamitous curve balls, however poorly we understand what is happening to us and however much we flail in our futile attempts to come to grips with it, that we might be stronger and more able than we think.

Getting to that point is the great challenge and it’s on this dramatically-intense but artfully and quietly-expressed ground that the film expresses itself most profoundly, an emotionally-powerful kernel of truth hiding in a whimsical world which is revealed to be far more real and far more truthful than you might first expect.

 

Onward into moody dystopia: Blade Runner 2049 continues on in comic book form

(image via IMP Awards)

 

SNAPSHOT
The comic series will continue to unravel the future-set continuity of the Blade Runner universe, picking things up after the events of the long-awaited 2017 movie sequel, director Denis Villeneuve’s Blade Runner 2049, which followed the exploits of replicant blade runner K (Ryan Gosling), whose circuitous existential crisis leads him into the crosshairs of a radical group of replicant revolutionaries, steering him on a path that pairs him with original movie protagonist Rick Deckard (Harrison Ford). The events of the sequel saw a major evolution in the duality between humans and replicants, leaving things on an intriguing cliffhanger. (synopsis (c) Den of Geek)

I was relatively late to the marvellously moody world of Blade Runner – OK try really late, only watching Ridley Scott’s 1982 masterpiece in 2017 ahead of the release of the equally-as-masterful Blade Runner 2049 – but once there, I was enraptured and enthralled by cinema that satiated the senses, satisfied the mind and went a long way to owning the heart too.

This is science fiction that is both cerebral and deeply human, that rare mix of spectacle and accessibility that says something profound without collapsing under the weight of its own self-importance.

Given the relatively poor performance of Blade Runner 2049, a criminally-sad under-appreciation of a masterful piece of cinema, my hopes for any sort of continuation of the story, and there is a rich and deep capacity for one, was pretty slight.

Read non-existent.

 

 

But as the good folks of Den of Geek have revealed, there will be a sequel and it will be in comic form:

“A Blade Runner comic book series is officially in the works, set to arrive as a written collaboration between Blade Runner 2049 screenwriter Michael Green (who earned a Best Adapted Screenplay Oscar nod for Logan, having also worked on genre offerings like Alien: Covenant, and TV’s American Gods,) and comic book writer Mike Johnson (of the recent Supergirl revival, Superman/Batman and the Star Trek franchise).”

But that is not the end of it, my sci-fi dystopia loving friends, not by a long way:

“The details don’t stop there. Titan [Comics] and Alcon [Media]’s collaboration on the Blade Runner comic series will serve as the launch pad for a new line of comics and graphic novels. Interestingly, lest anyone think that these stories will be negated in pre-Disney Star Wars Expanded Universe style, the companies have confirmed that the comics will be part of the official canon of the films.”

 

Way before they were Yellow: Coldplay documentary A Head Full of Dreams

(image (c) Coldplay)

 

SNAPSHOT
A Head Full of Dreams offers an in-depth and intimate portrait of the band’s spectacular rise from the backrooms of Camden pubs to selling out stadiums across the planet.

The film is helmed by Mat Whitecross – director of Supersonic, the acclaimed 2016 Oasis documentary – who met the four friends at college in 1996, before they’d even formed the band. From the very first rehearsal in a cramped student bedroom, Mat has been there to capture the music and the relationships on tape. (synopsis (c) Coldplay via newsletter)

I have a long, passionate and enduring love affair with Coldplay.

It’s never quite reached my deep and abiding love for ABBA, but Coldplay have come close, along with Pink, musical markers along my journey from Baptist pastor’s son struggling with his sexuality to out gay man to a writer and the husband of the most wonderful man I know.

Through all the ups and downs, the steps forward and steps back, Coldplay have been there, each of their songs awash in emotion and the most exquisite melodies, and while like any affair the ardour has dimmed from time to time – I’m sorry but the album Ghost Stories still leaves me cold – it has never gone out.

So to see what led to the creation and enduring appeal of Coldplay over 20 years (that long really? Wow) will be nothing short of fascinating and a lovely intimate insight into a band who said they would be massive, and are, but who remain very much an intimate and special part of my life.

A Head Full of Dreams is available on Amazon Prime Video from 16 November in UK, US, Australia and New Zealand (local language versions to follow), with screenings in 2000 cinemas globally on Wednesday 14 November.

 

HO! HO! HO! Action … The Christmas Chronicles and Anna and the Apocalypse (new trailers)

 

There’s no such thing as too many Christmas movies!

You have to trust me on this; I have watched hundreds of the eggnog-soaked things and I am perfectly fine and do not dream of Christmas all year long, itching to decorate the tree, eat chocolate-covered sultanas and buy and wrap myself presents.

OK, I do, but that’s not the point.

What is the point is that Christmas films are wonderful, cliched or otherwise, and these two are some of the finest coming your way this festive season.

 

(image via IMP Awards)

 

SNAPSHOT
The Christmas Chronicles, a holiday adventure from producer Chris Columbus (Home Alone, Harry Potter) and director Clay Kaytis (The Angry Birds Movie), tells the story of sister and brother, Kate (Darby Camp) and Teddy Pierce (Judah Lewis), whose Christmas Eve plan to catch Santa Claus (Kurt Russell) on camera turns into an unexpected journey that most kids could only dream about. After staking out Santa’s arrival, they sneak into his sleigh, cause it to crash and nearly derail Christmas. As their wild night unfolds, Kate and Teddy work together with Santa – as you’ve never seen him before – and his loyal Elves to save Christmas before it’s too late. (synopsis via Coming Soon)

Christmas movies are one of those rare times in my cinematic experience, romantic comedies being the other, where I am perfectly happy for you (not you personally; the filmmaker) to pile up trope upon trope until I am covered in tinsel while helping Santa finish his deliveries as we, and really the whole damn neighbourhood, sing out hearts our with heartwarming life-affirming carols.

That’s why I am more than willing to entertain watching The Christmas Chronicles which looks like it’s having a trope-ticking festival with a jauntily festive air.

 

 

Well, that and the fact that Kurt Russell is Santa Claus – KURT RUSSELL people!

I mean, if you wanted your Christmas tale with a healthy dose of cliche, and honestly I am more than happy with that, then how about much better is it with a Kurt Russell-ed Santa?

I am hoping very good indeed.

The Christmas Chronicles releases 22 November on Netflix.

 

(image via IMP Awards)

 

SNAPSHOT
Based on the 2010 BAFTA-winning short Zombie Musical. The feature takes places in Little Haven on Christmas as a a zombie apocalypse threatens the sleepy town, forcing Anna (Ella Hunt) and her high school friends to fight, sing and slash their way to survival with a fast-spreading undead horde in relentless pursuit. Teaming up with her best friend John (Malcolm Cumming), Anna and her crew fight their way through zombified snowmen, a ravenous bachelor party and high school hormones to try and save family and faculty alike. The film features original music by Roddy Hart and Tommy Reilly. (synopsis via Coming Soon)

Way over on the other end of the spectrum, tropes-wise, is Anna and the Apocalypse which, glory be, combines Christmas, zombies and musicals into one effervescently original take on the end of the world.

I mean, the odds of any of us singing and dancing our way through the zombie apocalypse is remote – although if it keeps the undead away then I say have at it! – but isn’t it nice to think that some people might? – and that it’d feel rather upbeat as they did so?

Of course it would, and the latest trailer for Anna and the Apocalypse looks absolutely, run for your life, delightful!

 

 

But as one character observes it may not be as much fun as it appears.

After all, fighting for your life may seem daring and brave but when you actually have to do it, its kinda scary.

Still, with some killer moves and equally killer tunes, maybe it’ll work out OK in the end?

You have to hope so … now go dance and sing that zombie into an early grave will ya?

Anna and the Apocalypse releases 30 November USA and UK and 6 December Australia.

Choose wisely: The serious fun of live action Aladdin (poster + trailer)

(image via IMP Awards)

 

SNAPSHOT
The Aladdin cast includes: Two-time Oscar nominee Will Smith (Ali, Men in Black) as the Genie who has the power to grant three wishes to whoever possesses his magic lamp; Mena Massoud (Amazon’s Jack Ryan) as Aladdin, the hapless but lovable street rat who is smitten with the Sultan’s daughter; Naomi Scott (Power Rangers) as Princess Jasmine, the Sultan’s beautiful daughter who wants to have a say in how she lives her life; Marwan Kenzari (Murder on the Orient Express) as Jafar, an evil sorcerer who devises a nefarious plot to unseat the Sultan and rule Agrabah himself; Navid Negahban (Homeland) as the Sultan, the ruler of Agrabah who is eager to find a proper husband for his daughter, Jasmine; Nasim Pedrad (Saturday Night Live) as Dalia, Princess Jasmine’s hand maiden and confidante; Billy Magnussen (Into the Woods) as Prince Anders, a suitor from Skanland and potential husband for Princess Jasmine; and Numan Acar (Homeland) as Hakim, Jafar’s right-hand man and head of the palace guards. (synopsis via Coming Soon)

Disney’s great love affair, commercially-driven or otherwise, with remaking their animated classics, what We Got This Covered rather winningly calls their “wildly ambitious new hobby”, has me in two minds.

On the one hand, I lament the seeming inability or unwillingness to try for something truly original; and yet, on the other, well you have films like Beauty and the Beast and now Aladdin, and a slew of others in the works, which seem to suggest Disney is doing a great job of executing its grand new vision, or hobby, whatever you want to call it.

Granted, as with most teaser trailers, there’s not a whole lot to see and hear in the trailer but lordy, what a sense of wonder and possibility the trailer engenders, a sense of delicious foreboding that might augur poorly or well depending on, I’m assuming the state of your art.

It all feels like a little Indiana Jones and the Temple of Doom and I am totally there for it.

I’ll just be careful about picking up golden lamps, just in case I’m not as worthy as I think I am …

Aladdin opens 24 May 2019 in Australia, USA and UK.

 

Can catastrophe be averted? Two brothers race to find out in Exit Strategy

(image via Vimeo (c) Travis Bible)

 

SNAPSHOT
A man in a time loop must work with his brother to prevent a catastrophic fire. (synopsis via Vimeo)

Exit Strategy is one powerful piece of deeply-affecting storytelling that runs its entire length including a bittersweet emotional whammy, in the course of 15 tightly-plotted but deeply human moments.

What first appears as a garden-variety time loop scenario ends up being anything but, suffused with benign brotherly estrangement that masks a longing to reconnect, fate vs. freewill and a quietly-executed ending that will leave you moved beyond belief.

 

 

It’s no wonder this superlative short film was selected Official Selection of Tribeca International Film Festival and has won a slew of awards including being the winner of $50,000 Grand Prize Louisiana Film Prize and scoring the Filmmaker Achievement Award Mammoth Film Festival.

Pop Culturalist nails it when it says this about Exit Strategy.

“Ambitious, powerful, and emotionally poignant, Exit Strategy is a masterpiece in storytelling. Bible not only conjures an intriguing plotline, but he also creates likable characters that you fall in love with and root for, all within the film’s 15-minute runtime. His work is supported by the inspired performances from his lead actors, Christopher O’Shea and Richard Kohnke, who are commanding, yet vulnerable. A must-see.”

You must take the time to watch this film all the way through and maybe hug someone you love too?

Star Wars triple: Anime A New Hope + heroic C3PO + The Mandalorian

 

You can never, as I discovered way back in 1977 in a small darkened wooden cinema in Ballina, NSW, Australia, have too much Star Wars in your life.

One trip to that galaxy far, far way and a long time ago and you will want to spend the rest of your days with Luke and Leia, Han and Chewie, R2-D2 and C-3PO, and their newer narrative friends like Rey and Finn, and yes for all their nefarious evil Darth Vader and Kylo Ren.

It’s a captivatingly exciting world of possibilities that is in full bloom right now, thanks to the recent releases of films like A Force Awakens, Rogue One and Solo: A Star Wars Story, and it continues to inspire all kinds of people to make the most amazing Star Wars-centric art and commentary of their own.

Here are but three recent examples …

 

(image via IMP Awards)

 

Star Wars: A New Hope gets the anime treatment

Way back when, in that aforementioned moment in 1977 when then plain old Star Wars was a lone film and not a sprawling franchise of wonder and imagination, we had no inkling (well, I’m guessing good old George Lucas did!) of what this tale of one dream-laden boy, a princess and a smuggler fighting the great evil of the Empire could become. What is has become is all kinds of imaginative everything including this anime version of the original trailer for the first, now fourth, film, by Russian animator Dmitry Grozov (aka Ahriman) which is supremely delightful and transportive, recreating all the wonder of the original viewing. (source: Laughing Squid)

 

 

C-3PO is not averse to big-noting himself when required; he is, after all, a protocol droid who is “fluent in over six million forms of communication” and honestly surely that is worthy of some sort of important treatment? Quite possibly, though R2-D2 may disagree in that delightfully-trilling, bringing you down to earth way of his; thing is, Redditor ajniggles completely agrees with C-3PO as the linchpin of everything but not for the reasons you might imagine as Gizmodo explains:

“Rather, C-3PO’s a support operative there to help you succeed. The perfect protocol droid—his protocol being survival of the Republic. Throughout the Star Wars saga, C-3PO is controlling, influencing, and manipulating everyone around him. He persuaded Luke to join the Rebellion, inspired Han Solo to successfully navigate dangerous asteroid fields, and kept Han and Leia from screwing up their missions with their personal drama. C-3PO knows what you need before even you do, and will help you get it.”

It’s a compelling theory and you can read more at Why C-3PO Is The Most Important Character In Star Wars.

 

(image via Inquisitor (c) Lucasfilm/Disney)

 

Who is the Mandalorian? Who indeed?

We do know they are the protagonist of a new live action 10-episode Star Wars TV series, rumoured to be costing Disney $100 million to make, which is all about “… the travails of a lone gunfighter in the outer reaches of the galaxy far from the authority of the New Republic.”

We also know, via Inquisitor, who’s working behind-the-scenes to make the magic happen:

“Fans already know that the series would be written and executive produced by Emmy-nominated producer and actor Jon Favreau. However, it is now known that Dave Filoni (Star Wars: The Clone Wars, Star Wars Rebels) is in charge of directing the first episode of The Mandalorian.

“Added to this directorial line-up is Deborah Chow (Jessica Jones), Rick Famuyiwa (Dope), Bryce Dallas Howard (Solemates), and Taika Waititi (Thor: Ragnarok).”

But underneath the mask? Ah, that is the great unknown and honestly a little mystery in this spoiler-saturated age is not necessarily a bad thing.

More at Inquisitor.

 

Here comes The Food Thief with a fabulously fishy teaser trailer

(image via Vimeo (c) Mindbender)

 

SNAPSHOT
The Food Thief is a 1,5 minute short-film by Mindbender Animation Studio that is currently in production. The film will be released on the internet later this year. (synopsis via Vimeo)

I am usually a little indifferent to teaser trailers.

They usually tantalise with atmospheric and thematic hints aplenty but lack the narrative heft that I am craving and which is, usually, though sadly not always, provided by the more substantive trailers that succeed them.

But the teaser trailer for Gothenburg, Sweden-based Mindbender’s The Food Thief cartoon is an absolute delight in and of itself, handing us a 30-second glimpse of the 90-second short film to follow.

In the time that most ads struggle to convince you to buy something, this deliciously-brief window into The Food Thief practically tells an entire story, fleshes out a character and throws in some slapstick humour to boot.

It’s over in no time flat but you don’t mind because it’s been such a shot-in-the-arm of hilarious joy … and besides, you can watch it over and over on repeat, until such time as it’s longer-form successor makes an appearance.

 

 

 

(source: Cartoon Brew)

Movie review: Ladies in Black

(image via IMP Awards)

 

It is tempting in our modern age, which feels blighted, polarised and disconnected like no time before it, to imagine things were so much simpler way back when.

But the truth of the matter is that they weren’t, and any illusions of an untroubled idyll free from social media discord, climate change slanging matches and rising nationalistic brutality to name but a few blistering contemporary societal wounds, is quickly put to rest by a quick look at the history books.

However, not everyone bothers to flip back through these illuminating historical lessons and so it falls to films like Bruce Beresford’s Ladies in Black, based on the book The Women in Black by the late Madeline St. John, to fill in some of the blanks.

Or, at least, point the way.

For this feel-good film, set in 1959-60 as Australia wrestled with some fairly major changes in its social fabric, is by no means an exhaustive exploration of the issues of the day, preferring to canvas them, lightly examine and move on in the interests of telling enriching stories of women grappling with a world in the flux of fairly seismic change.

Of course, that kind of change usually looks seismic in retrospect, with people at the time aware only that change is taking place but unaware of how great it might ultimately prove to be.

And that’s fair enough with the women profiled in this charmingly light and moving film neither historians nor hardcore social researchers; rather they are simply ordinary everyday Australians doing their best to make life work when many of the immediate pre-Second World War certainties of life have been swept away in the postwar upheaval.

 

(image via Cinema Australia)

 

One of the great changes is the arrival in Australia of significant numbers of migrants from Europe seeking a life free from past traumas, economic deprivation and new looming tyrannies such as the replacement of brutalist Nazi rule with communist rule.

Two of the major characters in the film, Madga (Julia Ormond), a gloriously-rarefied Slovenian fashionista who married handsome intellectual Stefan (Vincent Perez) as they were both learning English in a migrant camp, and their friend Rudi (Ryan Corr), have fled unspecified past troubles in their countries of birth.

Whatever their current issues, they pale markedly in comparison to living in a land of endless sun and seemingly limitless space, with each of them eager to make the most of the opportunities this new country offers.

Ladies in Black doesn’t go too deeply into what they have fled from and how great a pall those traumas cast over their current lives with only Rudy detailing what happened (rather than how it really affected him), and it’s this unwillingness to dive too deeply into some fairly pressing issues of the time that leaves the film feeling a little too light and fluffy.

Books like The Bookshop of the Broken Hearted by Robert Hillman delve far too deeply into the scarring trauma of loss of family, position and career that afflicted many migrants, who were variously referred to as “refos” or “Continentals” by the largely-Cacausian majority who found the slow but sure sweeping aside of rusted-on societal norms disquieting and unsettling.

But not everyone, as is made clear in the characters of university-aspirant Lisa (Angourie Rice) who is determined to get to university to study to be a poet or actress, and Fay (Rachael Taylor), who is tired of Australian men, and looking for someone who wants more than sex, something she finds in the urbane and enthusiastic Rudy.

 

(image via AFR)

 

These two women, part of a group of sales ladies at the upmarket Goodes department store in downtown Sydney including Magda, the lonely Miss Cartwright (a superlatively-affecting performance by Noni Hazlehurst) and Fay’s co-worker and friend Patty (Alison McGirr) are dealing in their own way with a period of great change (Patty’s storyline is the only one that feels strangely half-done and unexplained), which has the capability to take them with it or leaving them behind, depending on their aptitude or circumstances.

To a woman, bar Miss Cartwright who poignantly watches as everyone but her moves on to greener pastures – the fleetingly sad look on her face when fellow longstayer and closeted gay man Mr Ryder (Nicholas Hammond) remarks, happily, on their status as the ones who will hold the fort while the others desert it is deeply-moving – they rise up to the challenge, with endings as bright and effusive as the endless sunshine that frames every scene.

This is life, largely, writ in traumas with a small “t” each resolved reasonably easily and with only the lightest of complications; even Lisa’s dad, played by Shane Jacobson adapts far more easily than you might expect, loosening his grip on his daughter’s future and taking up the consumption of red wine, olives and salami far more readily than you might expect.

An incisive piece of hard-hitting social commentary Ladies in Black is not, with almost all of the issues it raises given only the most cursory of examinations but that’s okay because what it focuses is the way societies change and develop, taking with them those open to the new worlds opening up.

Perhaps it could have benefited from going deeper and harder into the issues but in the end, it is telling the story of women who formed a microcosm of society at the time, and who, as noted, would not have seen their lives as players in great change but simply as lives being lived, for good and bad, day-to-day.

In that regard, Ladies in Black excels, taking us into a CGI-recreated Sydney of the late 1950s and giving us a small bit of optimistically-enhanced insight into life as it was, as it was becoming and as it would become as Australia, like much of the postwar world, changed beyond all recognition.

 

He even makes adorable webs! Check out Lucas the Spider and his latest creation

(image via YouTube (c) Joshua Slice)

 

SNAPSHOT
I can totally make a spider web and look I even put a bell at the bottom so when it rings I know I got something then I can have a new friend. This might take a while. I’ll be back. (synopsis via Laughing Squid)

You can help but adore the garrulous cuteness of Joshua Slice‘s Lucas the Spider, an arachnid chatterbox who takes great pride and displays ample, contagious enthusiasm for everything he does.

Take spinning webs.

For the non-spiders among us, which is pretty much everyone reading this post since spiders are, by and large, illiterate (but not, I bet, Lucas!), stitching together a beautiful web may seem like a ho-hum undertaking – after all, that’s what spiders do isn’t it? Why get excited by something so mundane?

Well because it’s pretty damn clever, not to mention beautiful and as Lucas joyously observes, you get to meet all kinds of new friends through them.

Or meals, you know because … friends, yes friends is what you get and don’t let anyone tell you otherwise! After all, that’s Lucas wants and so should you.