Author: markswritingcorner

Mark Ahern was born in 1979 and is from Ireland. He attained a Degree in Commerce from UCD in 2000 and a Masters in European Studies in 2001. He has written three novels to date encompassing science fiction and thrillers. At times Mark has used his experiences as an individual with a disability to write from a truly unique perspective. "Chronicles of Martan" which is his sole science fiction work to date, is an epic space odyssey inspired by his love of Star Wars. This was followed by "Not the Usual Suspect" and "Paradigm". His current project is called "The Irish Ripper" and should be available late 2019.

A Westmeath Man (Comedy)

A wooden rowing boat moored at a stone jetty on a calm, misty lake.

My dear readers, I was given the most terrible insult the other day, that I wasn’t a proper Westmeath man. Why, you may wonder? Well, I didn’t watch the Westmeath v Wexford match on TV about two weeks ago. Apparently, if I had then, maybe I could have willed Westmeath to victory with my special powers.

We’ll forget for now that I was born in Dublin, my parents grew up in Offaly, and a grandparent from Cork. Important facts when one of those counties is in with a chance of an All-Ireland.

And this grave insult came from my friend, who is known by the moniker BobDTraitor. Only on my phone, mind you. I’m not evil. How did he get such a name? Well, ladies and gentlemen, think back to that glorious day in 2004, when Westmeath won Leinster for the first and only time. Surely, you would want to celebrate with your people, not off at some random party with Dublin people. Poor life decisions, I’d say. And treachery.

What is it about Westmeath I love so much? Is it the people? The people from Kinnegad with their funny accents, those squinting windows in Delvin, or even people from Athlone, who lack souls according to the good people of Mullingar.

This is about pride of place, I reckon. I’ll be friends with people from all over the world, even from far-off places like Nigeria, Meath, Poland, and Monaghan. We’re all humans.

So maybe it’s the great wilderness in the County, you know, out there by Castlepollard. Or what we call the Great Lakes, midlands, and Irish style.

Maybe to be a Westmeath man, you have to be just like me.

And to the Westmeath football and hurling teams – I’ll try better next time.

(If you enjoyed this piece, please consider subscribing)

Predator: Badlands – Exciting New Film Highlights and Insights

Armored soldier with a rifle standing in a desert during a lightning storm at sunset.

Everyone, how could I possibly not have known about this new film? My flicking through Disney+ came to an abrupt halt. A new Predator film. Predators or Yuatja have gone up against Aliens (the rib-cracking ones) and Arnold Shwarzneggar for God’s sake!

Predator: Badlands is a 2025 American science fiction action film directed by Dan Trachtenberg and written by Patrick Aison from a story by Trachtenberg and Aison. It is the seventh installment in the Predator franchise and stars Elle Fanning and Dimitrius Schuster-Koloamatangi in leading roles.

Predator: Badlands is an absolute blast—a fresh, exhilarating, and surprisingly heartfelt entry in the Predator franchise that breathes new life into the iconic Yautja hunters while delivering nonstop thrills.

The story follows Dek (Dimitrius Schuster-Koloamatangi), a young Yautja “runt” cast out from his brutal clan on Yautja Prime. Desperate to prove his worth to his unforgiving father and earn his place as a true hunter, Dek sets off for the nightmarish death planet Genna. His goal? To slay the legendary Kalisk—the ultimate, seemingly unkillable adversary that even seasoned Predators fear. Along the way, he forms an unlikely alliance with Thia (Elle Fanning), a damaged Weyland-Yutani synthetic (android) who’s lost her lower body but retains sharp wit, resourcefulness, and a surprising amount of heart. Their odd-couple dynamic—gruff alien warrior and clever, talkative synth—becomes the emotional core of the film, blending humor, mutual respect, and genuine growth as they navigate Genna’s lethal ecosystem.

What makes Badlands stand out is how boldly it expands the Predator mythology. We get immersive glimpses into Yautja culture, clan dynamics, and their ruthless honor code, all without slowing down the pace. The homeworld opening sequence is gripping, setting up Dek’s internal conflict perfectly: he’s not just hunting for trophies—he’s fighting for acceptance in a society that values only strength. Once on Genna, the planet itself becomes a character, teeming with deadly flora, ferocious fauna, and environmental hazards that keep the tension sky-high. The action set pieces are inventive and visceral, blending practical effects with seamless CGI for some of the franchise’s most creative hunts and battles yet. From high-tech Predator weaponry to brutal close-quarters combat, it feels raw, tactical, and immensely satisfying.

Visually, the film is a triumph. Trachtenberg and cinematographer Jeff Cutter craft breathtaking, alien vistas that make Genna feel both beautiful and terrifying. The Predator suit work and movement (brought to life with impressive physical performance from Schuster-Koloamatangi and his team) look fantastic, while the creature designs—including the Kalisk and other Genna threats—are imaginative and menacing. The score pulses with energy, enhancing both the quiet character moments and the explosive action.

Performances elevate the whole experience. Schuster-Koloamatangi delivers a compelling, mostly nonverbal turn as Dek, conveying vulnerability, determination, and quiet growth through body language and those iconic Predator mannerisms. It’s a bold choice to humanize the “brute” without losing his edge, and it works beautifully—you’re genuinely rooting for this outcast hunter by the end. Elle Fanning is a standout as Thia; she’s charming, funny, and resilient, turning what could have been a sidekick into a fully realized partner whose banter and ingenuity provide perfect counterbalance to Dek’s stoicism. Their chemistry crackles, turning survival into something warmer and more meaningful. The supporting cast, including the clan dynamics back home, adds weight and stakes without overcomplicating things.

At its core, Predator: Badlands is about more than just hunting—it’s a story of found family, redefining strength, and learning that true worth comes from connection and adaptability rather than raw dominance.

Five stars out of five from me. An absolute must-watch.

Epic Review of 2012: A Disaster Movie Masterpiece

Skyscrapers collapsing into a fiery lava-filled chasm under a dark, stormy sky with lightning.

I watched this old blockbuster yesterday. Okay, I admit it. I only recalled watching it years ago, about halfway through.

2012 (2009), directed by Roland Emmerich, stands as one of the most exhilarating and ambitious disaster films ever made—a true spectacle that delivers non-stop thrills, jaw-dropping visual effects, and an unapologetic celebration of human resilience in the face of apocalyptic chaos. If you’re looking for a movie that turns the end of the world into an edge-of-your-seat rollercoaster ride, this is it. Emmerich, the master behind classics like Independence Day and The Day After Tomorrow, outdoes himself here with a film that prioritizes pure cinematic excitement over subtlety, and it succeeds brilliantly on those terms. The car driving along while all the buildings collapsed on either side was particularly memorable.

At its core, 2012 follows a diverse group of characters as they race against time to survive a series of cataclysmic events triggered by massive solar flares that destabilize Earth’s crust. John Cusack stars as Jackson Curtis, a struggling writer and divorced dad who becomes an unlikely hero, desperately trying to save his family amid the unfolding global nightmare. Amanda Peet plays his ex-wife Kate, Chiwetel Ejiofor brings gravitas as a dedicated scientist working for the U.S. government, and Woody Harrelson adds memorable eccentricity as a conspiracy theorist who sees it all coming. The ensemble cast handles the mix of personal drama and high-stakes action with sincerity, making you genuinely care about their fates even as the planet crumbles around them.What truly elevates 2012 is its breathtaking scale and groundbreaking visual effects. This is Emmerich at his most extravagant: entire cities like Los Angeles are torn apart by massive earthquakes, with roads splitting open, buildings collapsing in domino fashion, and cars desperately navigating collapsing freeways in one of the most intense opening sequences in cinema history. Yellowstone erupts in a fiery cataclysm, mega-tsunamis swallow landmarks worldwide, and iconic sites—from the White House to the Vatican—meet spectacular ends.

The CGI, which was cutting-edge for its time and still holds up remarkably well, creates immersive, awe-inspiring destruction that feels both terrifying and exhilarating. Scenes like the family’s frantic escape through crumbling Los Angeles or the desperate boarding of massive “arks” designed to save humanity are pure adrenaline, blending practical stunts with seamless digital wizardry to deliver one jaw-dropping set piece after another.

Beyond the spectacle, the film taps into a universal theme of hope and survival. Despite the overwhelming odds, 2012 never descends into pure nihilism. It balances the chaos with moments of heart—family reconciliations, acts of selflessness, and a quiet optimism that humanity can endure even the worst.

The screenplay cleverly weaves in real-world inspirations from the Mayan calendar prophecy (popular at the time) while keeping the focus on character-driven stakes. At nearly 2 hours and 40 minutes, it gives ample time for both intimate emotional beats and globe-spanning devastation, ensuring the pacing rarely lets up once the disasters begin.Critics may sometimes dismiss it as over-the-top or cheesy, but that’s missing the point—2012 knows exactly what it is and embraces it wholeheartedly. It’s big, loud, and unpretentious fun that prioritizes entertainment value above all else.

The sound design amplifies every rumble and crash, pulling you deeper into the experience, while the score heightens the emotional and epic tones. For fans of disaster movies, it’s a standout: more intense and visually ambitious than many of its peers, with a sense of wonder amid the wreckage. In the end, 2012 is a triumphant blockbuster that reminds us why we go to the movies—to witness the impossible, feel the rush of adventure, and emerge with a renewed appreciation for the fragility (and strength) of life.

If you haven’t seen it, do yourself a favor and experience it on the biggest screen possible. It’s a wild, unforgettable ride that delivers pure cinematic joy through destruction. Highly recommended for anyone who loves epic scale, heartfelt moments, and the sheer thrill of watching the world (almost) end.

Five stars for sheer spectacle and entertainment value from me! I caught up with it on Disney+

Wheelchair Wars Oreus (iii)

“That is fine, Mefus. Leave me.”

Expressionless, he walked out of the room.

Above Oreus were screens of Timothy and Audrey practicing. Their faces contorting as they gave maximum effort at all times.

They have cunning, guile and intelligence but is it too soon?

Oreus thought back to all the hundreds of warriors he had seen over the innumerable time cycles. Most died quickly, roaring in agony long before he tried remembering their names. Some though, he had grown fond of, even admired. It had made it all the more difficult to watch them being ripped apart in the various arenas. And mostly, by the Fionn.

He recalled his first meeting with what was then a young Brigid. Back then, the Fionn feared the Fianna, but not her. She stared right back at him, no fear. Then the results began to change. The stream of bloody bodies became a flood, that still continues.

Maybe, this time would be different. There was something about this latest crop.

Oreus bellowed, “Sean, call Brigid.”

The woman reappeared scowling. “So, are you a go?”

Oreus spoke with defiance. “Yes, we are a go.”

“Oh, the Governor will be happy. And my warriors even more so.”

Distant Love (Part 69)

A rustic kitchen with sleeping pets and giant breakfast food floating in the landscape.

Derek smiles. “It sounds and smells lovely but what’s a rasher?”

Jessica laughs. “Oh, that be bacon to the likes of you.”

“Smashing, where’s Maeve?” Derek asks.

“Ah, she went out walking. To clear the head. Have you any plans for the day? I’m sure you have plenty of thinking to do.”

Nodding, Derek replied, “Yes, I have a lot to think about. I’m going to head over to the ship, make sure it is fully operational. And then, how to make some money?”

She places her hands on the table. “Remember, the two of you are not alone. You have support here. Don’t forget.”

Satiated, Derek later heads outside. For a moment, he pauses. It is a totally different sensory experience to being on the moon. The clouds drifting in the sky, the wind blowing through the grass and the smell of the sea in the air. Maeve was nowhere to be seen.

He drives his wheelchair forward over the stony surface down the winding lanes to the ship. It looks totally out of place.

The ramp deploys as he approaches. He looks around before heading straight to the control panel.

His presence turns on all the lights and computer analysis.

Wheelchair Wars Oreus (ii)

Uniformed officers examine a large holographic projection of a planet on a futuristic bridge.

Oreus shook his head. “Yoou neever chaange, Saaooirse. Eeveen aafter aall thiis tiime.”

“And you are still a fool. So, have you another team lined up for the slaughter?”

Oreus turned his chair and looked down at his fighters. Timothy and Audrey were engaged in what looked like deep discussion. “Thheey arre noot reaady yet.”

“You would turn your back on me! I can sense your weakness even from here.”

Oreus grimmiced. “I haave thhe maakings oof aa teeam buut its too sooon.”

She was angry now. “The Governor will not be happy. There is an edict that the people are to be entertained. He has senses that the forces of Chaos grow strong on this planet”

With that, the transmission ended.

“Mefus,” Orpheus shouted.

One of the large men that were always at his side entered the room, lifted him up and placed him on the bed. For a moment, Oreus looked at the long scar on the back of the man’s head. It reminded him on the first time they met.

I would apologize but the brute would not be able to comprehend the immensity of the injury I had done. No way to explain that he had mangled his brain to induce servitude.

Wheelchair Wars Oreus

Glowing blue holographic man standing in a futuristic office overlooking a city skyline.

Oreus looked out over the great hall of the Fianna below him from his living quarters. Hundreds of his fighters were practicing, chattering, and loitering below.

His brow furrowed as he focused on Timothy, who was chatting with Audrey and Olsen.

The living quarters were large. A double bed with numerous pillows and screens on each of the walls linked to cameras throughout the compound and beyond.

A buzzer goes off.

“Sean, Answeer caall,” Oreus said.

A holographic image of a middle-aged woman appeared. She was sitting in battle chair, with guns on either side. Her long, black hair covered only her larger-than-normal forehead,

“Whaat doo I oowe the pleaasuure, Brigid?”

She smiled. “You know why I’m calling. I thought you would have been there. I heard some of your warriors even called out your name as they were bludgeoned to death.

Oreus grimaced. “Thaat’s oone thiing yyou weere alwaays good aat. Geetting uunder myy skiin.

Brigid laughed. “You do get so fond of your little pets. Remember, they either die in our service or that of the Emperor. Think of them as nothing more than cannon fodder. It helps keep things in perspective. Otherwise, talking to you will become such a downer.”

Wheelchair Wars 4 (i)

A person in a hooded jacket standing under a running shower in a metallic communal bathroom.

Audrey’s heart was thumping, her hands shaking. Body parts of her teammates were strewn on the ground. She wanted to scream, but nothing would come out. Instead, the vast crowd continued to cheer.

The bloodied, hole-laden Gargantuan lay motionless on the ground, its immense body still memorizing.

A pale, sullen Timothy soaked up the crowd’s adulation.

She pressed her joystick forward unthinkingly and began the journey back to base. No words passed them.

The corridors were still full of people carrying the Fianna emblem. Their smiles disappeared on seeing her.

She went straight to her room and locked the even though she sensed a gathering was expected. The shower was turned on, and she undressed.

The water flowed over her body, cleansing it of the small pieces of flesh jung on,

She held her hands up to her eyes and cried uncontrollably, so hard at times that she struggled to breathe.

Memories of those lost flooded her mind. Jack’s smile, gossiping with the girls, and even Olsen teasing her about Timothy. Then, older memories of all the girl’s that died at the convent. Harriet’s screams as one of the sister’s beat her one too many times.

You can do this Audrey. You’ve been through too much to just give up.

Obi-Wan Kenobi Season 1 Review: A Star Wars Gem

Silhouette of a cloaked figure with a staff watching a binary sunset in a desert.

Hi everyone! Yes, I’ve been back watching Disney+ in a Star Wars frenzy. This time, I’ve been catching up with Obi-Wan in this heart-warming Season 1.

Obi-Wan Kenobi Season 1 (2022) is an emotionally resonant return to the Star Wars galaxy that successfully bridges the gap between Revenge of the Sith and A New Hope. This six-episode limited series elivers a character-driven story focused on healing, redemption, and quiet heroism, all anchored by Ewan McGregor’s masterful reprise of the iconic Jedi Master. While it doesn’t aim for the bombastic scale of some big-screen entries, it excels as an intimate, soulful exploration of trauma, purpose, and the enduring light of the Force. Set ten years after the fall of the Republic and the rise of the Empire, the series follows Obi-Wan Kenobi—now living in exile as “Ben” on Tatooine—as a broken man haunted by guilt over Anakin Skywalker’s transformation into Darth Vader. He has shut himself off from the Force, working a mundane job while secretly watching over young Luke Skywalker from afar.

Inquisitors who work on behalf of the Empire hunt Jedi or even people with limited abilities in the Force, adding an extra threat.

Ewan McGregor stars as the title character, reprising his role from the Star Wars prequel trilogy. Co-stars such as Joel Edgerton, Bonnie Piesse, Jimmy Smits, Hayden Christensen (Vader), and Ian McDiarmid also reprise their prequel trilogy roles. At the same time, Vivien Lyra Blair debuts as a young Leia Organa. The project originated as a spin-off film written by Hossein Amini and directed by Stephen Daldry, but it was reworked as a limited series following the commercial failure of the film Solo: A Star Wars Story (2018).

After remaining in hiding for the next ten years on the planet Tatooine, watching over Anakin’s son Luke, Kenobi is called on a mission to rescue Anakin’s daughter Leia when she is kidnapped by the Galactic Empire’s Jedi-hunting Inquisitors in a plot to draw Kenobi out.

At the core of the series’ success is Ewan McGregor’s phenomenal performance. He slips effortlessly back into the role, bringing layers of weariness, regret, dry humor, and quiet strength that make Obi-Wan feel profoundly human. Watching him evolve from a defeated hermit to a Jedi reigniting his connection to the Force is deeply satisfying and emotionally rewarding.

The supporting cast shines as well. Moses Ingram brings intensity and complexity to Reva (the Third Sister), a relentless Inquisitor whose backstory adds depth and tragedy to the Empire’s hunt for Jedi. Hayden Christensen’s return as Darth Vader is chilling and powerful—his limited but impactful appearances, especially in the later episodes, deliver some of the most memorable confrontations in the saga. The Inquisitors and other Imperial figures create a palpable sense of danger, while cameos and references to prequel and original trilogy lore reward longtime fans without feeling forced.

Visually, Obi-Wan Kenobi is a treat. The production design beautifully blends the sandy desolation of Tatooine with the sterile oppression of Imperial worlds and the vibrant, lived-in feel of Alderaan. Practical effects, impressive lightsaber duels, and John Williams-inspired scoring (with new themes by Natalie Holt) elevate key moments, particularly the thrilling finale that features some truly epic, emotional lightsaber action worthy of the franchise’s legacy.

Four stars out of five from me. May the Force be strong in you.

Abigail (2024): A bloody ballet of Horror and Laughs

Every now and again, I like to watch a good horror. There’s something about knowing that most of the characters will shortly be dead that is somewhat satisfying. Throw in a bit of blood and screams of terror, and I’m sorted.

So, unsurprisingly, I gave this film a shot.

Abigail is a 2024 American vampire horror comedy film directed by Matt Bettinelli-Olpin and Tyler Gillett, and written by Stephen Shields and Guy Busick. It stars Melissa Barrera, with Alisha Weir as the title character, and Dan Stevens, Kathryn Newton, Will Catlett, Kevin Durand, Angus Cloud (posthumously), and Giancarlo Esposito in supporting roles.

The premise is deceptively straightforward and hooks you immediately: a ragtag crew of criminals kidnaps 12-year-old ballerina Abigail (the phenomenal Alisha Weir), the daughter of a feared underworld figure, and holes up with her in a remote, opulent mansion for 24 hours while awaiting a $50 million ransom. Sounds so simple, right?

What begins as a contained crime thriller—complete with colorful character dynamics and snappy banter—quickly spirals into chaos when the kidnappers realize their seemingly innocent captive is far more dangerous than they could have imagined. The film smartly plays with expectations in its first half, building suspense through interpersonal tensions, before unleashing its horror elements with escalating intensity.

t the heart of the film’s success is its outstanding ensemble cast, who fully commit to the over-the-top fun. Melissa Barrera shines as Joey, the former army medic and most level-headed member of the group, bringing heart, resourcefulness, and genuine likability to a role that could have easily been generic. She’s the audience’s emotional anchor amid the madness. Dan Stevens is an absolute delight as the sleazy, self-centered Frank, chewing scenery with villainous glee and injecting plenty of dark humor. The supporting players are equally memorable: Kathryn Newton as the hacker Sammy, Kevin Durand as the dim but endearing muscle Peter, William Catlett as the pragmatic Rickles, and the late Angus Cloud (in one of his final roles) as the getaway driver Dean, who nearly steals scenes with his oddball charm.

ut the true standout is young Alisha Weir as Abigail. Following her breakout in Matilda: The Musical, Weir delivers a star-making performance here—menacing yet oddly endearing, vulnerable yet terrifying. She nails the ballerina grace in her movements (the fight choreography incorporating dance elements is brilliant and balletic), flips between wide-eyed innocence and feral predator mode effortlessly, and sells both the horror and the comedic beats.

isually and stylistically, Abigail is slick and confident. The isolated mansion setting is a perfect playground—grand, shadowy, and filled with opportunities for creative kills and chases. The practical effects and gore are top-notch: buckets of blood, inventive vampire violence, and some genuinely squirm-inducing moments that don’t shy away from the R-rating. Yet the directors balance the horror with sharp humor—quippy one-liners, absurd situations, and character-driven laughs that prevent it from ever feeling mean-spirited.

Three stars out of five from me.

Have you seen it? Let me know what you think.