Jack the Ripper, one of histories greatest unsolved mysteries. So what if that man escaped the time, and that was how he escaped the law? Perhaps he wasn't found because he was no longer in the Victorian age? That is the central question at the heart of Time after Time (1979) the directorial debut of Nicholas Meyer, the man who would give us the greatest Star Trek movie of all time Wrath of Khan (1982). But Jack comes forward with a special device, The Time Machine... of H.G. Wells design.
In a direct result the author charges through time after the madman, who was one of Wells' close friends (according to the movie). Arriving in the (then) modern times, HG finds himself in a museum exhibit... dedicated to him. From there Wells tracks White Chapel Murderer through San Fransisco... providing a plot hole. In the book The Time Machine, the machine does not travel in multiple dimensions, The machine only travels through time, not over distances. The movie tries to explain this by the time difference that there is in London and Frisco... but that doesn't really make any sense, because the time difference is relative and there fore wouldn't affect the machine, but this movie is science FICTION, not a documentary.
The movie's humor is derived mainly through the counter clash, like Wells consuming McDonald's for the first time, and his ignorance of the World Wars, and one seemingly unneeded scene involves Wells noticing the jeweller has numbers on his fore arm, but no dialogue mentioned it, so Meyer's choice to include the few second shot seems bizarre.
And there is plenty of humor, especially if you know something about HG Wells and his personal life. Mainly his desire for utopia, and how the future is kind of a let down to a futurist like himself. Which results in Jack the Ripper declaring himself "home" after showing Wells (with a TV) the horrors of the 'modern' world including War, Football, and Jimi Hendrix. The Ripper then declares that "90 years ago I was a freak! Now I'm just an Amateur!" Satirizing the regression in true humanity that has happened in the 20th century, all wrapped up in a funny Sci-Fi 'cat and mouse' movie.
Malcolm McDowell stars as HG Wells, and plays him beautifully. At the beginning of the movie he portrays the intellect and hope for the future, during the later acts he handles the 'fish out of water' mentality just as well, if not better. McDowell's physical comedy and deadpan shock at the progression of history, provide most of the humorous side of the movie. But McDowell also adds a human side to Wells, who now is seen as a minor god of Sci-Fi. I really was impressed with McDowell, who I've mainly seen in supporting roles.
And the other man who shares the spotlight is David Warner, as the ultimate Slasher. Warner does not get a lot of face time, but when he does he serves as a dark mirror reflecting that killers and backstabbers (no pun intended) fit in perfectly to our modern world. Warner is creepy, yet intellectual. Brooding, yet disarming. He plays how I picture Jack the Ripper must have been, a 19th century Ted Bundy. But, I have no way to prove that. (And you have no way to disprove it!)
Although now she's most know for roles in Lifetime Original movies and as the mom in RomComs, Mary Steenburgern puts in a nice portrayal of Amy, the woman that Wells falls for in the current time. In a supporting role Steenburgen is able to make a lasting impression and helps develop the human side of Wells.
All in all the movie is fun, even though it is not historically sound... at all. recommend this movie because it's funny, engaging, and has a sprinkle of romance, all adding up to a fun ride.
Dr. Brooklyn says: LIKE this movie (8/10)
Thursday, September 30, 2010
Tuesday, September 28, 2010
Mean Streets: A review
For Westerns it was Stagecoach (1939) That epic first team up of two men (John Ford and John Wayne) who would come to change the genre forever.
For Crime Drama it was Mean Streets (1973) when a young director named Martin Scorsese made his first major feature film (after minor movie Boxcar Bertha (1972)) and gave a supporting role to a Robert De Niro, who had a few successes, but was not a true star... yet. Like Ford and Wayne these two men would go on to make many films together that would garner critical and box office success, such as Taxi Driver (1976) and GoodFellas (1990), but it all started with this one.
And what a place to start.
The film tells the story of two men, Charlie (Harvey Keitel) and Johnny Boy (Robert De Niro). The two are friends, but their friendship has some bumps in the road, mainly Johnny Boy's dead beat ways and Charlie's desire to climb the mob ladder, which often times means collecting debts.
The two play off each other amazingly well, with both providing great performances. But De Niro and Keitel are only expected to be great, and when Scorsese is telling them what to do there can be only one out come... a masterpiece of crime cinema.
For a movie that close to the release of The Godfather (1971) I was pleasantly surprised that with the exception of the playful trash can fight, there were no direct allusions or homages. Mean Streets doesn't try to recreate that masterpiece, it tried to be it's own monster, and it succeeds, creating a truly original and masterful look into the mob and the everyday lives of the people that make it in a way that hadn't really been seen before (Well, there was that one movie from a few years before I mentioned).
Like I touched on briefly, Harvey Keitel puts in a strong performance as Charlie. Working off the Scorsese Mardik Martin script to show the conflict of a Catholic in the Mob. The Bible tells him thou shalt not steal... but his boss tells him he should and that creates a conflict, which Keitel handles masterfully. The other main conflict of Charlie is his relationship with Teresa, his epileptic neighbor, whom his "family" has deemed "sick in the head," and there for undateable. So, Charlie has to decide between seeing his girl... and keeping his "family" happy, and adds a romantic subplot to this violent movie.
Although he isn't in the movie nearly as much as Keitel, De Niro turns in a typically amazing performance, but it is not his best. Johnny Boy is a kind of one dimensional character, but De Niro is able to make him seem at the very least 2 and possible 3 dimension, simply because he may be the greatest actor alive today.
All in all this is a very good movie, and should rank up with GoodFellas (1990), Reservoir Dogs (1992) and Pulp Fiction (1994) as some of the best Crime movies out there.
Dr. Brooklyn says: LIKE this movie (9/10)
For Crime Drama it was Mean Streets (1973) when a young director named Martin Scorsese made his first major feature film (after minor movie Boxcar Bertha (1972)) and gave a supporting role to a Robert De Niro, who had a few successes, but was not a true star... yet. Like Ford and Wayne these two men would go on to make many films together that would garner critical and box office success, such as Taxi Driver (1976) and GoodFellas (1990), but it all started with this one.
And what a place to start.
The film tells the story of two men, Charlie (Harvey Keitel) and Johnny Boy (Robert De Niro). The two are friends, but their friendship has some bumps in the road, mainly Johnny Boy's dead beat ways and Charlie's desire to climb the mob ladder, which often times means collecting debts.
The two play off each other amazingly well, with both providing great performances. But De Niro and Keitel are only expected to be great, and when Scorsese is telling them what to do there can be only one out come... a masterpiece of crime cinema.
For a movie that close to the release of The Godfather (1971) I was pleasantly surprised that with the exception of the playful trash can fight, there were no direct allusions or homages. Mean Streets doesn't try to recreate that masterpiece, it tried to be it's own monster, and it succeeds, creating a truly original and masterful look into the mob and the everyday lives of the people that make it in a way that hadn't really been seen before (Well, there was that one movie from a few years before I mentioned).
Like I touched on briefly, Harvey Keitel puts in a strong performance as Charlie. Working off the Scorsese Mardik Martin script to show the conflict of a Catholic in the Mob. The Bible tells him thou shalt not steal... but his boss tells him he should and that creates a conflict, which Keitel handles masterfully. The other main conflict of Charlie is his relationship with Teresa, his epileptic neighbor, whom his "family" has deemed "sick in the head," and there for undateable. So, Charlie has to decide between seeing his girl... and keeping his "family" happy, and adds a romantic subplot to this violent movie.
Although he isn't in the movie nearly as much as Keitel, De Niro turns in a typically amazing performance, but it is not his best. Johnny Boy is a kind of one dimensional character, but De Niro is able to make him seem at the very least 2 and possible 3 dimension, simply because he may be the greatest actor alive today.
All in all this is a very good movie, and should rank up with GoodFellas (1990), Reservoir Dogs (1992) and Pulp Fiction (1994) as some of the best Crime movies out there.
Dr. Brooklyn says: LIKE this movie (9/10)
Monday, September 27, 2010
Top 5: Bad Ass Jedi
For those that don't know, huge Star Wars fan, I am. And I have been wanting to do this list for a while, and I decided that today is as good as any to finally put fingers to keys.
And one more rule, they have to be from the movies, I don't buy into the whole EU thing.
5: Qui-Gon Jinn
Defining Bad Ass Moment: The One on One with Darth Maul at the start of Phantom.
I know he was only in one episode, but QGJ is still one of the most Bad Ass Jedi's shown, mainly by being that quite guy that you know could beat the shit out of you at the drop of a hat. He is a skilled swordsman, even though Maul beats him, and this combination of prescence, knowledge of the force, and ability to wield a sabre allow him to claim a spot on this list.
4: Luke Skywalker
Defining Bad Ass Moment: The Final Showdown with Vader
Take New Hope out and Luke is actually a pretty tough dude, no longer whining about things he can't control he pulls on his big boy underwear and takes down the empire working his way up from the common stormtrooper to beating his Father, and allowing Vader to realize his destiny and bring balance to the force. The evolution of Luke is a great arc, from farmboy to pilot, to Rebel leader, to Jedi master all in the course of three movies. In the movies no other Jedi is shown to go to Master that fast, let alone doing it with as little training as Luke had.
3: Obi-Wan Kenobi
Defining Bad Ass Moment: The Final fight in Sith
Even though the prequels were no where near as good as the OT, they did give us bad ass Obi-Wan. In Phantom he's a mild mannered padawan, until the end when he fights, and bests, Darth Maul. From there on we see Obi-Wan mature as a truly great swordsman, and we even see him become a General. Let's look at some of the characters Obi-Wan has beaten in Comabt: Darth Maul, General Grievous, and Darth Vader (Anakin had taken the mantle before the fight), who just happen to be three of the most bad ass characters in Star Wars.
2: Yoda
Defining Bad Ass Moment: The Showdown with Dooku
In V and VI we see Yoda old and dying, and his great feats are only hinted at. Then in Phantom Menace we meet a younger Yoda, but we still don't see him fight. Then comes Clones, when Dooku has beaten Obi-Wan and Anakin... but Yoda steps up and gives us one of the best Sabre fights of the entire Saga. In addition to being one of the best swordsmen, Yoda is the only Jedi shown to redirect Sith Lightning with his own hands, not a sabre. Pretty easy being Green, if you ask me.
1: Mace Windu
Defining Bad Ass Moment: When Mace tops the Emperor in a duel.
Palpatine has no problem going through the three Jedi Mace brought with him, but then Mace, the only man able to wield a purple light sabre and look cool doing it, steps up and fights the Emporer into submission, turning him into the wilted piece of wax we see in the OT. It's not until Anakin betrays him and removes his hand that Mace is beaten. Being able to take out Jango fett, and if he had been so inclined, the Emperor, it's hard to imagine a more bad ass Jedi that Mace.
There's another award winning* top 5 from Dr. B. I hope you agree... because if you don't tha means you're wrong.
*Best Blog at the 2010 Vulcan Blog Awards
And one more rule, they have to be from the movies, I don't buy into the whole EU thing.
5: Qui-Gon Jinn
Defining Bad Ass Moment: The One on One with Darth Maul at the start of Phantom.
I know he was only in one episode, but QGJ is still one of the most Bad Ass Jedi's shown, mainly by being that quite guy that you know could beat the shit out of you at the drop of a hat. He is a skilled swordsman, even though Maul beats him, and this combination of prescence, knowledge of the force, and ability to wield a sabre allow him to claim a spot on this list.
4: Luke Skywalker
Defining Bad Ass Moment: The Final Showdown with Vader
3: Obi-Wan Kenobi
Defining Bad Ass Moment: The Final fight in Sith
2: Yoda
Defining Bad Ass Moment: The Showdown with Dooku
1: Mace Windu
Defining Bad Ass Moment: When Mace tops the Emperor in a duel.
There's another award winning* top 5 from Dr. B. I hope you agree... because if you don't tha means you're wrong.
*Best Blog at the 2010 Vulcan Blog Awards
Saturday, September 25, 2010
Top 5: Futurama Episodes
Alright, this just struck me as a good thing to do, being that Futurama is one of my favorite shows ever, and I've seen every episode, time to impart my wisdom on you, dear reader, and show you the top 5 Futurama episodes of all time.
5. Brannigan Begin Again
Why it's Awesome: Short Version: Zapp Brannigan recreating scenes from Midnight Cowboy. Longer version, This is Zapp's finest episode, showing him to be one of the greatest TV characters of all time. In 'Loves Labours Lost in Space" we are introduced to Zapp, but her we meet him, and we see that he's a shallow, lonely, horrid, pitiable, and the greatest Captain Kirk parody of all time. The humor continues from beginning to end, and this episode sticks out among the best. Just ask IGN who also named this episode #5.
4. The Luck of the Fryish
Why it's Awesome: In a show that's as funny as Futurama, it's hard to imagine that there would be some truly touching episodes, and the greatest one of these is The Luck of the Fryish in which we see Fry mature a bit, and we learn about how Fry became the man-boy he is today, but we also get a touching story of the love brothers have, even if they don't always show it. I couldn't pick Jurassic Bark because I hate dogs, and I couldn't pick The Sting, because it's too trippy, I had to pick the Luck of the Fryish because it's beautiful and displays the kind of story telling that the new episodes missed.
3. War is the H-Word
Why it's Awesome: As a fan of Starship Troopers, M*A*S*H, Star Wars, and War movies in general, this episode went straight to my heart, touching all sorts of things I love and illustrating them in a way that is beautiful and original, amalgamating all sorts of different pieces into a beautiful puzzle. The episode truly shines in the extended M*A*S*H parody scene, with Zoidberg, iHawk, and the Squid Nurse thing. A satire on War itself, this episode does what the new episodes couldn't, blend satire and the style of humor that made Futurama unique, and not just The Simpsons in space.
2. The Farnsworth Parabox
Why it's Awesome: This episode doesn't have the heart wrenching emotion of my #4, or the satire of #3, but it has humor... lots and lots of humor. Ranging from the various universes to the interactions of Universe 1 and Universe A this episode has quite possibly the sharpest script of any of the episodes and has been a favorite of mine since I saw it for the very first time. The only part of the episode I didn't like was the lack of alternate Zapp and Kif, how epic would that have been?
1. Where No Fan has gone before
Why it's Awesome: It's got everything amazing: Zapp. The Shat. And more Star Trek references than an episode of Star Trek. Being a Trekkie (We're taking the word back) I can't pick any other episode as better, mainly because the tongue in cheek presentations of the actors was so brilliant, I couldn't help but love it. The plot is strong, with a nice framing device and so many excellent references to TOS that you might need to have seen all the episodes of TOS to get them. Although it won't make you cry from being touched, it will make you cry from laughter. And this episode goes where no other episode has gone before... to the top of a Dr. B Top 5.
So there's my top 5, like it or love it.
5. Brannigan Begin Again
4. The Luck of the Fryish
3. War is the H-Word
2. The Farnsworth Parabox
1. Where No Fan has gone before
So there's my top 5, like it or love it.
Better Review Tomorrow
Fine, I'll admit it, when I think of crime movies I don't think of a bunch of high school aged Asians (one of which is John "Harold" Cho). I know that sounds racist, but I don't mean it that way. Crime movies are supposed to feature mumbling Sicilians or Bible quoting hit men, not Harvard applicants, and thus the MTV (don't judge me) Films movie Better Luck Tomorrow (2002) seems like a bizarre premise for a crime movie.
But, it works.
Much like Election (1999), the movie focuses on the over stressed upper echelon of the high school, and how often times they are not the squeaky clean future rulers of the world they appear to be. And this is how Daric begins a Fight Club like manipulation, taking the Academic Decathletes and insults them, tricks them, and over all uses them to run his various criminal enterprises which go from cheat sheets to cocaine use to a little bit of murder.
I'm kind of surprised, but MTV (A channel I despise for it's lack of music and it's abundance of 'reality' shows) has made two of my favorite high school movies, delivering winning satires of the group I avoided contact with, the Valedictorians, mainly because one broke my heart, but that's a story for another day.
Furthermore, this movie, and Justin Lin directs one heck of a movie, capturing the actors with a brilliant use of wide angles and close ups that would make Sergio Leone proud. The editing is (pardon the pun) fast and furious, capturing the 'on the edge' style of the lives of the characters.
The acting is superb, with all the actors bringing a true sense of high school angst to their respective roles, but the screen is mainly occupied by Parry Shen as Ben, who plays the classic crime archetype of "Well meaning Guy sucked into crime" See Michael Corleone, Henry Hill, The Narrator from Fight Club, etc. And as the rule of crime movies goes, the "WmGsiC" must go down, and that is no different here.
For anyone that has had the honor of listening to one of my rants on Heathers (1989), they know my lack of love for that movie comes from it's lack of like able characters, horrid script, etc. This movie succeeds where Heathers fails, where the latter fails to make the satiric points it strives for, Better Luck Tomorrow beautifully mixes Fight Club, Goodfellas and Election to create an amazing High school satire, and an interesting crime movie to boot.
Dr. Brooklyn says: LIKE this movie (9/10)
But, it works.
Much like Election (1999), the movie focuses on the over stressed upper echelon of the high school, and how often times they are not the squeaky clean future rulers of the world they appear to be. And this is how Daric begins a Fight Club like manipulation, taking the Academic Decathletes and insults them, tricks them, and over all uses them to run his various criminal enterprises which go from cheat sheets to cocaine use to a little bit of murder.
I'm kind of surprised, but MTV (A channel I despise for it's lack of music and it's abundance of 'reality' shows) has made two of my favorite high school movies, delivering winning satires of the group I avoided contact with, the Valedictorians, mainly because one broke my heart, but that's a story for another day.
Furthermore, this movie, and Justin Lin directs one heck of a movie, capturing the actors with a brilliant use of wide angles and close ups that would make Sergio Leone proud. The editing is (pardon the pun) fast and furious, capturing the 'on the edge' style of the lives of the characters.
The acting is superb, with all the actors bringing a true sense of high school angst to their respective roles, but the screen is mainly occupied by Parry Shen as Ben, who plays the classic crime archetype of "Well meaning Guy sucked into crime" See Michael Corleone, Henry Hill, The Narrator from Fight Club, etc. And as the rule of crime movies goes, the "WmGsiC" must go down, and that is no different here.
For anyone that has had the honor of listening to one of my rants on Heathers (1989), they know my lack of love for that movie comes from it's lack of like able characters, horrid script, etc. This movie succeeds where Heathers fails, where the latter fails to make the satiric points it strives for, Better Luck Tomorrow beautifully mixes Fight Club, Goodfellas and Election to create an amazing High school satire, and an interesting crime movie to boot.
Dr. Brooklyn says: LIKE this movie (9/10)
Friday, September 24, 2010
The Deer Reviewer
Wow.
At this moment, I can't think a better reaction to the 1978 Best Picture winner, The Deer Hunter. To call this movie a masterpiece is to insult it, to call it near perfection is still a slight. I, as an amateur movie buff and reviewer, don't even feel worthy to critique it, positively or negatively, but here I go.
The movie begins with a wedding, for one of the men in a group of steelworkers. The opening scenes establish the drunken revelry of a bachelor party, followed with the wedding and three of the men: Nick, Steve, and Mike (Christopher Walken, John Savage, and Robert De Niro) going off to the 'Nam.
There various things happen, but they can be summed up mainly in two words: Russian Roulette.
I could say more, but I don't want to spoil the movie, which, I will say now, I highly recommend.
The script is tight, with a strong sense of friendship between the guys, romance between De Niro and Streep, the horrors of war, and many more topics are covered with a maturity and a skill not usually seen.
In addition, the actors portraying the script could not have been better, first I'll start with the Deity that is Robert Di Nero. This man is easily among the top 5 actors to ever live. When I was watching him I could only imagine him as being Michael Vronsky (Travis Bickle who?) for a man who has defined method acting for 40+ years he was so immersed in the role you forget this man has been nominated for 6 Oscars, you actually start to think they got a real guy to play the part.
Next. Chri.sto.pher. Wa.lken. At times, its hard to remember Christopher Walken has done things other than demand Will Ferrell give him more cowbell, and stash a watch up his ass. But, this turn gave him an Oscar, and he deserved it. His turn as Nick was fantastic, and I dare to say probably his best. I dare anyone to watch the final RR scene and not get a lump in your throat. I never thought I'd say it, but there is a movie with Robert Di Nero... and he doesn't give the best performance.
Next, the girl that both men pined after, Meryl Streep... that's pretty much all I have to say here and you know how the performance was. Streep brought a subtlety to the role that was needed, being the girl two men were fighting to get back too. I could go on, but with Maryl Streep giving her praise is almost cliche.
The rest of the acting is very strong, but these three easily cast a shadow over the rest and make the movie their own.
For a sophomore film, Michael Cimino knocks it out of the park, and earned all 5 of the Oscars this movie received. I truly cannot heap enough praise on this movie, and I cannot recommend it enough.
Dr. Brooklyn says: LIKE this movie (10/10)
At this moment, I can't think a better reaction to the 1978 Best Picture winner, The Deer Hunter. To call this movie a masterpiece is to insult it, to call it near perfection is still a slight. I, as an amateur movie buff and reviewer, don't even feel worthy to critique it, positively or negatively, but here I go.
The movie begins with a wedding, for one of the men in a group of steelworkers. The opening scenes establish the drunken revelry of a bachelor party, followed with the wedding and three of the men: Nick, Steve, and Mike (Christopher Walken, John Savage, and Robert De Niro) going off to the 'Nam.
There various things happen, but they can be summed up mainly in two words: Russian Roulette.
I could say more, but I don't want to spoil the movie, which, I will say now, I highly recommend.
The script is tight, with a strong sense of friendship between the guys, romance between De Niro and Streep, the horrors of war, and many more topics are covered with a maturity and a skill not usually seen.
In addition, the actors portraying the script could not have been better, first I'll start with the Deity that is Robert Di Nero. This man is easily among the top 5 actors to ever live. When I was watching him I could only imagine him as being Michael Vronsky (Travis Bickle who?) for a man who has defined method acting for 40+ years he was so immersed in the role you forget this man has been nominated for 6 Oscars, you actually start to think they got a real guy to play the part.
Next. Chri.sto.pher. Wa.lken. At times, its hard to remember Christopher Walken has done things other than demand Will Ferrell give him more cowbell, and stash a watch up his ass. But, this turn gave him an Oscar, and he deserved it. His turn as Nick was fantastic, and I dare to say probably his best. I dare anyone to watch the final RR scene and not get a lump in your throat. I never thought I'd say it, but there is a movie with Robert Di Nero... and he doesn't give the best performance.
Next, the girl that both men pined after, Meryl Streep... that's pretty much all I have to say here and you know how the performance was. Streep brought a subtlety to the role that was needed, being the girl two men were fighting to get back too. I could go on, but with Maryl Streep giving her praise is almost cliche.
The rest of the acting is very strong, but these three easily cast a shadow over the rest and make the movie their own.
For a sophomore film, Michael Cimino knocks it out of the park, and earned all 5 of the Oscars this movie received. I truly cannot heap enough praise on this movie, and I cannot recommend it enough.
Dr. Brooklyn says: LIKE this movie (10/10)
Thursday, September 23, 2010
Comic Book Wednesday (The "sorry-about-all-these-late-editions" Edition) Part 3: The Rest
So I know Icon is a Marvel imprint, but i put vertigo here, so why not put Icon here as well?
NEMESIS #3 (of 4)
Words by: Mark Millar
Art by: Steve McNiven
Only Millar would have a super villain impregnate a girl, using her gay brothers sperm... and then rig her womb to destroy itself if the baby inside is destroyed. Keeping his monopoly on awesome bad ass stories, Millar delivers an action packed extravaganza, while continuing to embolden the legacy of one of the greatest villains ever to hit comics. McNiven's art is as brutal as Millar's writing and the only bad part of this issue is that it's arrival means there's only one more issue of Nemesis.
Dr. Brooklyn says: LIKE this issue (10/10)
THE WALKING DEAD #77
Words by: Robert Kirkman
Art by: Charlie Adlard
this issue seems more like it's setting up the next arc than telling it's own story, but I'm okay with that because it means there's more TWD coming! Other than that nothing MAJOR happens, other than Glenn is going back to the city (setting up the arc called "No Way Out") and Rick capitally punished Pete, which will set up social and in community political fall out, but in this issue there's no more of that. I like the issue because it is setting up a bunch of stuff, but let's just see if Kirkman can capitalize on that.
Dr. Brooklyn says: LIKE this issue (9/10)
NEMESIS #3 (of 4)
Words by: Mark Millar
Art by: Steve McNiven
Only Millar would have a super villain impregnate a girl, using her gay brothers sperm... and then rig her womb to destroy itself if the baby inside is destroyed. Keeping his monopoly on awesome bad ass stories, Millar delivers an action packed extravaganza, while continuing to embolden the legacy of one of the greatest villains ever to hit comics. McNiven's art is as brutal as Millar's writing and the only bad part of this issue is that it's arrival means there's only one more issue of Nemesis.
Dr. Brooklyn says: LIKE this issue (10/10)
THE WALKING DEAD #77
Words by: Robert Kirkman
Art by: Charlie Adlard
this issue seems more like it's setting up the next arc than telling it's own story, but I'm okay with that because it means there's more TWD coming! Other than that nothing MAJOR happens, other than Glenn is going back to the city (setting up the arc called "No Way Out") and Rick capitally punished Pete, which will set up social and in community political fall out, but in this issue there's no more of that. I like the issue because it is setting up a bunch of stuff, but let's just see if Kirkman can capitalize on that.
Dr. Brooklyn says: LIKE this issue (9/10)
Comic Book Wednesday (The "sorry-about-all-these-late-editions" Edition) Part 2: DC
So, as usual I read some DCU stuff as well, and here's the reviews of those issues.
THE FLASH #5
Words by: Geoff Johns
Art by: Francis Manapul
In a continuation of the time-travelling what have you fest story line, The Flash and the rogues square off against the futuristic Renegades and... yeah... that's pretty much the issue. The fighting takes the first 13 pages, then we get a mind trip after The flash breaks Mirror Master's mirror and unleashes the Mirror Lords, then the flash is taken back to the future for trial. That's pretty much it. the Art is superb, in my opinion, with a cartoon edge, and an almost JRjr feel, but the story lacks emotion and a reason to care.
Dr. Brooklyn says: AT LEAST READ this issue (7/10)
GREEN LANTERN CORPS #52
Words by: Tony Bedard
Art by: Ardian Syaf
This issue was another 'meh' issue in a week of 'meh' issues. I believe the problem is that brightest day has failed to make me care about it, and this issue is trying to advance the BD story line... therefore I don't really care. I mean, I understand that cyborg Superman was menacing, but this whole arc has been kind of lame and not really engaging. The cover makes t seem like there will be an epic showdown, CSM gets his beating in 3 panels. sorry DC, you are really turning me off to your stuff.
Dr. Brooklyn says: PASS this issue (5/10)
JUSTICE LEAGUE: GENERATION LOST #10
Words by: Judd Winick
Art by: Joe Bennett
Much like my hate for BMB, my faithful readers will know I love this series. And this issue just keeps the awesome train going. this time they finally reveal what War Max Lord needs to stop... by recreating the future and showing Magog and his brigade fighting parasite, who rips open Captain Atom... and starts the events of Kingdom Come. FINALLY! MEANING IS GIVEN TO THE EVENTS OF A BRIGHTEST DAY TITLE!!!! THERE IS PURPOSE!!! THERE IS A CONNECTION!!!! The quest to to remember Max is still cool, with the dynamics of the JLI still working and making this a very cool read, especially if you're a fan of KC.
Dr. Brooklyn says: LIKE this issue (9/10)
so, not a lot of DC stuff, and not a lot of good DC stuff... hopefully there will be some good titles in the 'The Rest section' *spoiler alert... there are*
THE FLASH #5
Words by: Geoff Johns
Art by: Francis Manapul
In a continuation of the time-travelling what have you fest story line, The Flash and the rogues square off against the futuristic Renegades and... yeah... that's pretty much the issue. The fighting takes the first 13 pages, then we get a mind trip after The flash breaks Mirror Master's mirror and unleashes the Mirror Lords, then the flash is taken back to the future for trial. That's pretty much it. the Art is superb, in my opinion, with a cartoon edge, and an almost JRjr feel, but the story lacks emotion and a reason to care.
Dr. Brooklyn says: AT LEAST READ this issue (7/10)
GREEN LANTERN CORPS #52
Words by: Tony Bedard
Art by: Ardian Syaf
This issue was another 'meh' issue in a week of 'meh' issues. I believe the problem is that brightest day has failed to make me care about it, and this issue is trying to advance the BD story line... therefore I don't really care. I mean, I understand that cyborg Superman was menacing, but this whole arc has been kind of lame and not really engaging. The cover makes t seem like there will be an epic showdown, CSM gets his beating in 3 panels. sorry DC, you are really turning me off to your stuff.
Dr. Brooklyn says: PASS this issue (5/10)
JUSTICE LEAGUE: GENERATION LOST #10
Words by: Judd Winick
Art by: Joe Bennett
Much like my hate for BMB, my faithful readers will know I love this series. And this issue just keeps the awesome train going. this time they finally reveal what War Max Lord needs to stop... by recreating the future and showing Magog and his brigade fighting parasite, who rips open Captain Atom... and starts the events of Kingdom Come. FINALLY! MEANING IS GIVEN TO THE EVENTS OF A BRIGHTEST DAY TITLE!!!! THERE IS PURPOSE!!! THERE IS A CONNECTION!!!! The quest to to remember Max is still cool, with the dynamics of the JLI still working and making this a very cool read, especially if you're a fan of KC.
Dr. Brooklyn says: LIKE this issue (9/10)
so, not a lot of DC stuff, and not a lot of good DC stuff... hopefully there will be some good titles in the 'The Rest section' *spoiler alert... there are*
Comic Book Wednesday (The "sorry-about-all-these-late-editions" Edition) Part 1: Marvel
Alright, first I haven't posted anything recently because I lost my password. That having been said here is my comic reviews for yesterday, starting with Marvel.
HIT+MONKEY 3 (OF 3)
Words by: Dan Way
Art by: Dalibor Talajic
I am actually kind of sad that it will be a while before I get more Hit Monkey. And so I was going into this issue with a heavy heart, luckily Way and Talajic delivered a good final issue. continuing from the first issues in this mini Hit Monkey andto this series. That being said, this issue just felt like it was missing something... I'm not sure what, but- oh yeah, I do know... an end. We go from HM taking out some Yakuza guys to flying through a city with a cheesy "You are a legend... a Killer of Killers... forever to be known as... Hit-Monkey!" 'The End.' Leaving a whole slew of questions as to how HM goes fro Bullseye are set to face off for a final time, and the wait was worth it, seeing Hit Monkey do his bad ass monkey thing was awesome (punching Bullseye, hitting him with nunchucks, Seducing women... kind of) was an awesome end m this Year One mission to the Monkey Business arc of Deadpool. I liked the issue, don't get me wrong, but it just needed a better ending.
Dr. Brooklyn says: LIKE this issue (7.75/10)
SECRET AVENGERS #5
Words by: Ed Brubaker
Art by: David Aja
This issue has the same pitfall of Shadowland: Moonknight #1 (of 3)... It's not really a Secret Avengers tale. sure Steve Rogers is there, Nick Fury pops up, you've got Sharon Carter as well... but that's it. It's much more like Brubaker's earlier Cap stuff than Secret Avengers 1-4. A Nick Fury LMD shows up and begins to raise all kinds of hell, but this issue is pretty much all back story, that 'm sure will become vital for #6, but as a stand alone it could be better. The Art is good, and I believe that this issue has potential to set up a really cool arc, and my score is based more on that than anything else.
Dr. Brooklyn says: LIKE this issue (8/10)
SHADOWLAND: DAUGHTERS OF THE SHADOW (2 of 3)
Words by: Jason D. Henderson
Art by: Ivan Rodriguez
I liked the first issue of this mini quite a bit, I enjoyed be introduced to some bad ass females, but this issue doesn't really build upon that. I mean, the story is decent, starting with some liberating and then some more liberating, and then an attempt at further liberating, then a cliff hanger, but it seems kind of repetitive. Yes, we just saw the nail liberate women in a slave ring two pages ago, I don't think the same group liberating women from the same slave ring just a hand full of pages later makes for a great (or even good) issue. Other than Power Man all the Shadowland stuff has gotten good grades... but sadly, this one ranks more along side PM than it does "Funeral for a Fiend."
Dr. Brooklyn says: AT LEAST READ this issue (7/10)
SHADOWLAND: MOONKNIGHT 2 (of 3)
Words by: Gregg Hurwitz
Art by: Bong Dazo
My main problem with the first MK tie in was that it was pretty much Vengeance of the Moonknight #11, not really a SL tie-in, but thankfully this issue not only remedies that, it makes MK a central player in saving NYC. during the Super Hero intervention from previous issues, MK squares off with DD and the beast n DD stares him down, only for Khonshu to show up and scare the beast off. Marc then begins to wonder what happened, and Khonshu explains that he's the only one who knows how to kill the beast and we get the set up of how the beast will be killed, and some foreshadowing that Matt will die. this was easily the best Marvel issue this week, with cool art and a great story reestablishing MK as a bad ass, I can't wait for #3 and the rest of SL.
Dr. Brooklyn says: LIKE this issue (9/10)
ULTIMATE MYSTERY #3 (of 4)
Words by: Brian Michael Bendis
Art by: Rafa Sandoval
Some of my faithful readers will realize I hate BMB, yet I read his stuff mainly because I get in and then I need to know how it ends. And UM is nearly over... THANK GOD! The story continues to be typical Bendis cluster fucking. "Clever" dialogue matched with mind numbing action and no coherent plot. I really should keep this review short because It's only going to be more and more BMB bashing, which I'm sure most of you don't want to read. I will say this though, BMB has made Ben Grimm a human again... what the fuck?
Dr. Brooklyn says: PASS this issue (4/10)
And there's my Marvel list (well, technically Icon is Marvel, but I saved that for the 'The Rest' section) Be sure to check some of this stuff out.
HIT+MONKEY 3 (OF 3)
Words by: Dan Way
Art by: Dalibor Talajic
I am actually kind of sad that it will be a while before I get more Hit Monkey. And so I was going into this issue with a heavy heart, luckily Way and Talajic delivered a good final issue. continuing from the first issues in this mini Hit Monkey andto this series. That being said, this issue just felt like it was missing something... I'm not sure what, but- oh yeah, I do know... an end. We go from HM taking out some Yakuza guys to flying through a city with a cheesy "You are a legend... a Killer of Killers... forever to be known as... Hit-Monkey!" 'The End.' Leaving a whole slew of questions as to how HM goes fro Bullseye are set to face off for a final time, and the wait was worth it, seeing Hit Monkey do his bad ass monkey thing was awesome (punching Bullseye, hitting him with nunchucks, Seducing women... kind of) was an awesome end m this Year One mission to the Monkey Business arc of Deadpool. I liked the issue, don't get me wrong, but it just needed a better ending.
Dr. Brooklyn says: LIKE this issue (7.75/10)
SECRET AVENGERS #5
Words by: Ed Brubaker
Art by: David Aja
This issue has the same pitfall of Shadowland: Moonknight #1 (of 3)... It's not really a Secret Avengers tale. sure Steve Rogers is there, Nick Fury pops up, you've got Sharon Carter as well... but that's it. It's much more like Brubaker's earlier Cap stuff than Secret Avengers 1-4. A Nick Fury LMD shows up and begins to raise all kinds of hell, but this issue is pretty much all back story, that 'm sure will become vital for #6, but as a stand alone it could be better. The Art is good, and I believe that this issue has potential to set up a really cool arc, and my score is based more on that than anything else.
Dr. Brooklyn says: LIKE this issue (8/10)
SHADOWLAND: DAUGHTERS OF THE SHADOW (2 of 3)
Words by: Jason D. Henderson
Art by: Ivan Rodriguez
I liked the first issue of this mini quite a bit, I enjoyed be introduced to some bad ass females, but this issue doesn't really build upon that. I mean, the story is decent, starting with some liberating and then some more liberating, and then an attempt at further liberating, then a cliff hanger, but it seems kind of repetitive. Yes, we just saw the nail liberate women in a slave ring two pages ago, I don't think the same group liberating women from the same slave ring just a hand full of pages later makes for a great (or even good) issue. Other than Power Man all the Shadowland stuff has gotten good grades... but sadly, this one ranks more along side PM than it does "Funeral for a Fiend."
Dr. Brooklyn says: AT LEAST READ this issue (7/10)
SHADOWLAND: MOONKNIGHT 2 (of 3)
Words by: Gregg Hurwitz
Art by: Bong Dazo
My main problem with the first MK tie in was that it was pretty much Vengeance of the Moonknight #11, not really a SL tie-in, but thankfully this issue not only remedies that, it makes MK a central player in saving NYC. during the Super Hero intervention from previous issues, MK squares off with DD and the beast n DD stares him down, only for Khonshu to show up and scare the beast off. Marc then begins to wonder what happened, and Khonshu explains that he's the only one who knows how to kill the beast and we get the set up of how the beast will be killed, and some foreshadowing that Matt will die. this was easily the best Marvel issue this week, with cool art and a great story reestablishing MK as a bad ass, I can't wait for #3 and the rest of SL.
Dr. Brooklyn says: LIKE this issue (9/10)
ULTIMATE MYSTERY #3 (of 4)
Words by: Brian Michael Bendis
Art by: Rafa Sandoval
Some of my faithful readers will realize I hate BMB, yet I read his stuff mainly because I get in and then I need to know how it ends. And UM is nearly over... THANK GOD! The story continues to be typical Bendis cluster fucking. "Clever" dialogue matched with mind numbing action and no coherent plot. I really should keep this review short because It's only going to be more and more BMB bashing, which I'm sure most of you don't want to read. I will say this though, BMB has made Ben Grimm a human again... what the fuck?
Dr. Brooklyn says: PASS this issue (4/10)
And there's my Marvel list (well, technically Icon is Marvel, but I saved that for the 'The Rest' section) Be sure to check some of this stuff out.
Thursday, September 16, 2010
Comic Book Wednesday (The day late edition) Part 2: DC
As has been typical, I read a lot more Marvel than DC, but here's the DC stuff I read.
BIRDS OF PREY #5
Words by: Gail Simone
Art by: Alvin Lee and Adrianna Melo
Over at the WCM boards I've insulted DC a few times for ripping off Marvel (Batman fighting his way through time to come back from the dead is the main example) and this issue displays a similar rip off. Black Canary is swept off to Hong Knog and is given the reigns to a ninja organization... when she builds a castle in Gotham then I'll be really pissed. I'm not a huge Simone fanboy, but i know she, and DC, know better than this. The issue has it's moments, but all in all the story is kind of weak and short.
Dr. Brooklyn says: AT LEAST READ this issue (7/10)
BRIGHTEST DAY #10
Words by: Geoff Johns and Peter Tomasi
Art by: Ivan Reis
I have been hating on BD for some time now, but all of a sudden Johns is turning this series around, but I don't think it'll be enough to salvage it entirely. The new Aqualad shows up and we get some great character stuff, and Firestorm goes through some changes, mainly releasing a Black lantern Deathstorm who has the power to destroy the universe with a new Bigger Bang (stay seated Mick Jagger). The writing is back to par with Johns great GL stuff, but still not as good as BN at it's best. Like I said, the series is turning towards positive ground, but it might be too late for a limited series.
Dr. Brooklyn says: LIKE this issue (8/10)
GREEN LANTERN: EMERALD WARRIORS #2
Words by: Peter Tomasi
Art by: Fernando Pasarin
This series has some potential, I just wish they would let Guy actually swear. The plot continues from the secret deal at the end of BN between Ganthet, Guy, and Atrocitus. But it is now kind of implied that the other lanterns are starting to realize that Guy is up to something, and Kilowog and Arisia go on a mission (that Guy wanted to be a solo mission) and disrupt some of his plans. Depending on how this continues, I think this could become one of the best series out there, it's really handling the darker side of the Green lantern corps, and I like that.
Dr. Brooklyn says: LIKE this issue (9/10)
So, I didn't read a lot of DC stuff, but what I did was good for the most part.
BIRDS OF PREY #5
Words by: Gail Simone
Art by: Alvin Lee and Adrianna Melo
Over at the WCM boards I've insulted DC a few times for ripping off Marvel (Batman fighting his way through time to come back from the dead is the main example) and this issue displays a similar rip off. Black Canary is swept off to Hong Knog and is given the reigns to a ninja organization... when she builds a castle in Gotham then I'll be really pissed. I'm not a huge Simone fanboy, but i know she, and DC, know better than this. The issue has it's moments, but all in all the story is kind of weak and short.
Dr. Brooklyn says: AT LEAST READ this issue (7/10)
BRIGHTEST DAY #10
Words by: Geoff Johns and Peter Tomasi
Art by: Ivan Reis
I have been hating on BD for some time now, but all of a sudden Johns is turning this series around, but I don't think it'll be enough to salvage it entirely. The new Aqualad shows up and we get some great character stuff, and Firestorm goes through some changes, mainly releasing a Black lantern Deathstorm who has the power to destroy the universe with a new Bigger Bang (stay seated Mick Jagger). The writing is back to par with Johns great GL stuff, but still not as good as BN at it's best. Like I said, the series is turning towards positive ground, but it might be too late for a limited series.
Dr. Brooklyn says: LIKE this issue (8/10)
GREEN LANTERN: EMERALD WARRIORS #2
Words by: Peter Tomasi
Art by: Fernando Pasarin
This series has some potential, I just wish they would let Guy actually swear. The plot continues from the secret deal at the end of BN between Ganthet, Guy, and Atrocitus. But it is now kind of implied that the other lanterns are starting to realize that Guy is up to something, and Kilowog and Arisia go on a mission (that Guy wanted to be a solo mission) and disrupt some of his plans. Depending on how this continues, I think this could become one of the best series out there, it's really handling the darker side of the Green lantern corps, and I like that.
Dr. Brooklyn says: LIKE this issue (9/10)
So, I didn't read a lot of DC stuff, but what I did was good for the most part.
Comic Book Wednesday (The Day late edition) Part 1: Marvel
I know, I'm tardy to the party, but a calculus quiz and last minute studying kept me from reading my comics until later, and then I watched RwaC, and by the time I finished my comics I didn't feel like reviewing. BUT! I know what my people want (actually I don't because I keep this blog going). So, I'm going to get things started with Marvel.
DEADPOOL #27
Words by: Dan Way
Art by: Carlo Barberi
I was pretty down on the last DP issue because it seemed really short, but this issue, also kind of short on plot, sets up something much bigger. Deadpool starts the issue in a convenience store, only to be caught in a robbery attempt by fellow regenerates (yet to be explained). After a fight, a chase, and a showdown the action has moved to a weapons Cache under the store, owned by a Arab terrorist, who three of the Secret Avengers show up to foil. One terrorist foiling later, Wade and Steve Rogers are having a talk, and Steve says 'Wanna come work with me?' For those who read my blog you know I love Secret Avengers, and now I want to know if Deadpool actually joins the team, or if this will be like his X-Men stint. Either way, I am eagerly awaiting #28.
Dr. Brooklyn says: LIKE this issue (8.75/10)
SHADOWLAND: GHOST RIDER (1 shot)
Words by: Rob Williams
Art by: Clayton Crain
First off, the art in this issue is mindblowingly amazing. Honestly, I think Crain may have just made my top five artists list. That being said, the story does not skimp at all, we get an awesome tale of Ghost Rider trying to break free, like Freddy Mercury. And we get a bunch of angels coming down and killing Hand Ninjas all kinds of dead. All in all, this is one heckuva story and now I'm even more pumped for what's going down in SL #4.
Dr. Brooklyn says: LIKE this issue (9/10)
SHADOWLAND: POWERMAN #2 (of 4)
Words by: Fred Van Lente
Art by: Mhmud Asrar
I didn't really like #1 of this tie-n. I thought it didn't really give the new power man any characterization, etc. (The review is on one of the CBW posts). This one starts to change that, giving us a nice human side to the new Power Man, who was starting to look like a Super Whore. My only problem is that it seems like he's going to end up WAY overpowered. furthermore, the art in this issue was really substandard for my liking. The story was better than #1, but that's not saying a lot.
Dr. Brooklyn says: PASS this issue (6/10) but AT LEAST READ IT if you're a Shadowland completest.
SHADOWLAND: THUNDERBOLTS
Words by: Jeff Parker
Art by: Declan Shalvey
Three words: Juggernaut versus Ninjas. You can skip to the score now, you know this issue will get a great score. The story is an exposition tale, Cage calls the T-bolts and they have to go to the sewers to find the Under-Hands Under castle. But thenBaron Unterbheit a shit ton of ninjas show up. a fight ensues and the T-Bolts get ready to continue down the rabbit hole. I don't read the Thunderbolts, but I just might after this bit of awesome.
Dr. Brooklyn says: LIKE this issue (8.75/10)
STEVE ROGERS: SUPER SOLDIER #3 (of 4)
Words by Ed Brubaker
Art by: Dale Eaglesham
So, I was taken aback when saw the "of 4," seeing as how the first two don't say that. So I'm now intrigued where this will take the former Shield-slinger. anyways, the issue is pretty solid, like every Bru/Cap title.The art is solid, but I really like how Cap does a look inside kind of thing and realizes that even without the shield and the muscles, he's still Cap. I really liked this issue, and feel like it's working towards Steve donning the costume again, or maybe that's just the fanboy in me talking.
Dr. Brooklyn says: LIKE this issue (9/10)
So that's what Marvel had that I read... yup.
DEADPOOL #27
Words by: Dan Way
Art by: Carlo Barberi
I was pretty down on the last DP issue because it seemed really short, but this issue, also kind of short on plot, sets up something much bigger. Deadpool starts the issue in a convenience store, only to be caught in a robbery attempt by fellow regenerates (yet to be explained). After a fight, a chase, and a showdown the action has moved to a weapons Cache under the store, owned by a Arab terrorist, who three of the Secret Avengers show up to foil. One terrorist foiling later, Wade and Steve Rogers are having a talk, and Steve says 'Wanna come work with me?' For those who read my blog you know I love Secret Avengers, and now I want to know if Deadpool actually joins the team, or if this will be like his X-Men stint. Either way, I am eagerly awaiting #28.
Dr. Brooklyn says: LIKE this issue (8.75/10)
SHADOWLAND: GHOST RIDER (1 shot)
Words by: Rob Williams
Art by: Clayton Crain
First off, the art in this issue is mindblowingly amazing. Honestly, I think Crain may have just made my top five artists list. That being said, the story does not skimp at all, we get an awesome tale of Ghost Rider trying to break free, like Freddy Mercury. And we get a bunch of angels coming down and killing Hand Ninjas all kinds of dead. All in all, this is one heckuva story and now I'm even more pumped for what's going down in SL #4.
Dr. Brooklyn says: LIKE this issue (9/10)
SHADOWLAND: POWERMAN #2 (of 4)
Words by: Fred Van Lente
Art by: Mhmud Asrar
I didn't really like #1 of this tie-n. I thought it didn't really give the new power man any characterization, etc. (The review is on one of the CBW posts). This one starts to change that, giving us a nice human side to the new Power Man, who was starting to look like a Super Whore. My only problem is that it seems like he's going to end up WAY overpowered. furthermore, the art in this issue was really substandard for my liking. The story was better than #1, but that's not saying a lot.
Dr. Brooklyn says: PASS this issue (6/10) but AT LEAST READ IT if you're a Shadowland completest.
SHADOWLAND: THUNDERBOLTS
Words by: Jeff Parker
Art by: Declan Shalvey
Three words: Juggernaut versus Ninjas. You can skip to the score now, you know this issue will get a great score. The story is an exposition tale, Cage calls the T-bolts and they have to go to the sewers to find the Under-Hands Under castle. But then
Dr. Brooklyn says: LIKE this issue (8.75/10)
STEVE ROGERS: SUPER SOLDIER #3 (of 4)
Words by Ed Brubaker
Art by: Dale Eaglesham
So, I was taken aback when saw the "of 4," seeing as how the first two don't say that. So I'm now intrigued where this will take the former Shield-slinger. anyways, the issue is pretty solid, like every Bru/Cap title.The art is solid, but I really like how Cap does a look inside kind of thing and realizes that even without the shield and the muscles, he's still Cap. I really liked this issue, and feel like it's working towards Steve donning the costume again, or maybe that's just the fanboy in me talking.
Dr. Brooklyn says: LIKE this issue (9/10)
So that's what Marvel had that I read... yup.
Wednesday, September 15, 2010
Review without a Cause
When one thinks of James Dean two things come to mind, the song by the Eagles and the movie Rebel without a Cause (1955). This movie is still the defining moment of Dean's short career, and with good reason. From the opening credits we meet Jim Stark (Dean) and see him drunk while in public, and then we go to the police station with Stark who obviously was arrested for being drunk in public.
Before I go on, what is with fictional characters with the last name of Stark and a problem with the bottle?
Anyways, when Stark is taken to the drunk tank to sober up we meet Judy (Natalie Wood), Jim's girlfriend who is having troubles of her own, Wood starts to display her Oscar nominated talents from the beginning.
Keeping with (or starting) the convention of the Bad boy with a heart of gold, Dean offers his jacket to a cold boy, and thus Stark is one of those boys that has an edge, but is a sensitive guy, the kind of guys that girls love.
The movie doesn't start slow, continuing right from the aforementioned police station scene we get some exposition about Stark's relationship with his parents, why they moved, etc. From here we go on to learn that Stark his developing feelings for Judy, who is dating his rival. From there the two clash in multiple testosterone laden challenges for the heart of Judy, the only logical way to handle a situation like that, and I don't feel like spoiling the movie from there,
Like many of the older movies, all the movie conventions are here, mainly the whole "Teen Angst" sub genre is so derivative of this film that it's almost sickening. A rich set of parents with a kid who feels like they need to rebel because they are trying to get the taste of the silver spoon out of their mouth, yadda yadda yadda. Furthermore, cinema buffs will recognize the "tough/but not tough at all gang" format from movies like Grease, American Graffiti, West Side Story, need I go on?
James Dean turns in a stellar performance as Stark, at the same time being some one you pity, and envy. He's not really a "rebel" (but the gang harassing him is not really a gang). You feel for Jim when he gets his tires slit, or when he gets rejected at the start by Judy, but you also see that he is going to be a hero down the road, and you anticipate that.
Natalie Wood, also turns in a great role, playing the girl who feels like she's growing up too fast. Now, personally I don't think Natalie Wood is hot, she's cute, but not overly attractive, yet her character is still attractive in away, because Wood plays the girl next door who doesn't know what she wants so perfectly any guy who's been through high school will fall for her.
Corey Allen, though not in the movie for long, turns in a good performance as Jim's rival Buzz. As shown before the Chicken Run scene, Buzz isn't a bad guy, he's just trying to preserve his honor, and that of hisfucking lady friend special lady.
But, the main secondary actor is that of Sal Mineo, who plays the part of Jim's hanger on with an amazingly touching side. Unbeknownst (or made to appear as such) to Jim Sal's character John/Plato displays homosexual tendencies, and his implied crush adds a sweet subplot, touching and subtle, so that one could ignore it if they try, but it is obvious.
There are many movies called "classics" and there a select few that truly earned the title, "Rebel without a Cause" is one of those. If you haven't seen it, then you should, if you have seen it, watch it again.
Also, as a thing that made me smile Jim is seen wearing a red jacket, a white tee-shirt, and blues jeans when he goes out at one pointto get a job at Planet Express.
Dr. Brooklyn says: LIKE this movie (9.75/10)
Before I go on, what is with fictional characters with the last name of Stark and a problem with the bottle?
Anyways, when Stark is taken to the drunk tank to sober up we meet Judy (Natalie Wood), Jim's girlfriend who is having troubles of her own, Wood starts to display her Oscar nominated talents from the beginning.
Keeping with (or starting) the convention of the Bad boy with a heart of gold, Dean offers his jacket to a cold boy, and thus Stark is one of those boys that has an edge, but is a sensitive guy, the kind of guys that girls love.
The movie doesn't start slow, continuing right from the aforementioned police station scene we get some exposition about Stark's relationship with his parents, why they moved, etc. From here we go on to learn that Stark his developing feelings for Judy, who is dating his rival. From there the two clash in multiple testosterone laden challenges for the heart of Judy, the only logical way to handle a situation like that, and I don't feel like spoiling the movie from there,
Like many of the older movies, all the movie conventions are here, mainly the whole "Teen Angst" sub genre is so derivative of this film that it's almost sickening. A rich set of parents with a kid who feels like they need to rebel because they are trying to get the taste of the silver spoon out of their mouth, yadda yadda yadda. Furthermore, cinema buffs will recognize the "tough/but not tough at all gang" format from movies like Grease, American Graffiti, West Side Story, need I go on?
James Dean turns in a stellar performance as Stark, at the same time being some one you pity, and envy. He's not really a "rebel" (but the gang harassing him is not really a gang). You feel for Jim when he gets his tires slit, or when he gets rejected at the start by Judy, but you also see that he is going to be a hero down the road, and you anticipate that.
Natalie Wood, also turns in a great role, playing the girl who feels like she's growing up too fast. Now, personally I don't think Natalie Wood is hot, she's cute, but not overly attractive, yet her character is still attractive in away, because Wood plays the girl next door who doesn't know what she wants so perfectly any guy who's been through high school will fall for her.
Corey Allen, though not in the movie for long, turns in a good performance as Jim's rival Buzz. As shown before the Chicken Run scene, Buzz isn't a bad guy, he's just trying to preserve his honor, and that of his
But, the main secondary actor is that of Sal Mineo, who plays the part of Jim's hanger on with an amazingly touching side. Unbeknownst (or made to appear as such) to Jim Sal's character John/Plato displays homosexual tendencies, and his implied crush adds a sweet subplot, touching and subtle, so that one could ignore it if they try, but it is obvious.
There are many movies called "classics" and there a select few that truly earned the title, "Rebel without a Cause" is one of those. If you haven't seen it, then you should, if you have seen it, watch it again.
Also, as a thing that made me smile Jim is seen wearing a red jacket, a white tee-shirt, and blues jeans when he goes out at one point
Dr. Brooklyn says: LIKE this movie (9.75/10)
Monday, September 13, 2010
The Caine Review
Quis custodiet ipsos custodes? ~ Juvenal
A question that has been around for centuries, and truly there is no right answer. When a person is place in a position of authority, and in a position of supreme authority in a remote location (such as a war ship), who is to watch the watcher? And thus is the spring board for the plot of The Caine Mutiny (1954).
The setting: The Caine, a mine sweeping vessel in the south pacific. Let me rephrase that, a mine sweeping vessel that has never had to sweep for mines.
The Watchman: Captain Queeg, played by the king of old Hollywood, Humphrey Bogart. Queeg is a by the book kind of guy, quite unlike the rogue that Bogey plays in movies like Casablanca (1942) or The African Queen (1951), but the Caine is a ship of guys that are not going to be in a Tom Clancy novel any time soon.
The plot unfolds through the eyes of Lt. Willie Keith (Robert Francis). Graduating in the top 5% of his midshipmen class, he gets assigned to the Caine, a let down for him, due to WWII going on Keith thought he deserved a battle ship or carrier post. After Keith's first few days on the Caine reveal a laid back atmosphere, and a group of misfits, Queeg comes to the Caine, and brings hell with him.
In a routine training exercise, Queeg makes his first faulty call, and as a result the target the Caine is towing is left a drift, a minor transgression, but Queeg begins a descent down a slippery slope, climaxing in the titular mutiny after Queeg leads the Caine into a vicious storm. The acting of the side characters, though, is over shadowed by Bogey, who truly shines.
Queeg is played brilliantly by Bogart, with all the quirk and eccentricity of Charlie Allnut (his drunk rogue from The African Queen.) As a Bogart fan I like seeing him not only as Rick Blaine, Philip Marlowe, or Sam Spade, but I do appreciate him in "anti-hero"/villain roles. I truly believe that Bogart is one of the finest actors America has produced, but because of the type casting of many of his roles. The way he plays a hardened s.o.b. is brilliant and at the 27th Academy Awards the Oscar didn't go to Bogey, only because it went to Brando for On the Waterfront.
But, for every yin there must be a yang, and for every Queeg there must be a Lt. Maryk, played here by Van Johnson. A lesser actor would have been content in Bogey's shadow, but I was impressed with Johnson, who held his own against Bogey's strong acting and makes for a memorable turn as the like able executive officer.
If you are looking for one heck of a good naval movie, look no further. This picture has a solid script matched with great acting. I highly recommend this movie, not only as a Bogart fan, but as an amateur critic.
Dr. Brooklyn says: LIKE this movie (9.5/10)
Sunday, September 12, 2010
Faust: A Review
Long has it been considered that man's ability to discern good from evil has been one of the main differences between man and beast, but what would happen if a man were asked to choose evil to facilitate a good? Well, that is the question at the center of the Silent masterpiece Faust (1926), directed by one of the grand masters of silent cinema, F.W. Murnau.
A wager is made between a demon and an angel over the purity of man. Like the question of a zebra's color and that of it's stripe the angel and demon argue whether man is good with tinges of badness, or bad with tinges of goodness. The demon Mephisto wagers man is bad and to prove it sets a plague to Faust's village, knowing that Faust will be wracked with guilt as the leading scientist, but not being able to cure anyone. With this as a foundation, Mephisto knows Faust will make a deal with Satan to provide him the ability to cure and heal, with the only caveat: Faust's soul shall be bartered to the father of lies.
And Faust takes the bait.
The movie unfolds from there tackling tough issues such as reliance on faith as opposed to science and other such issues. Very Avant-Garde for it's time, and still a very controversial topic 80 years later. I do have to sit in wonder, as I write this review, of how a movie could stay so relevant and thought provoking after all this time. Will our movies today be watched in 80 years and make the audience consider their faith and their science?
The physical acting is key here, as the silence takes away much of the actors ability to convey emotions, and I feel the clear victor in that aspect is Emil Jennings, who plays the demon Mephisto, perfectly capturing the demonic aspects of the embodiment of evil. As a relevant fun fact, the demon Chernobog in Fantasia's "Night on Bald Mountain" is based loosely on Mephisto from this movie.
Also of note is Gösta Ekman, who plays the titular doctor. Ekman plays a very conflicted man, and he plays it well. When Faust is granted youth, you see a man who is not trying to live forever, but trying to relive the life he now feels is full of mistakes. And it's touching and sincere, not hammy and over played like could have happened.
In short, the movie is superb, a brilliant use of early special effects and a very forward thinking drama of morality and the condition of man.
Dr. Brooklyn says: LIKE this movie (8.75/10)
A wager is made between a demon and an angel over the purity of man. Like the question of a zebra's color and that of it's stripe the angel and demon argue whether man is good with tinges of badness, or bad with tinges of goodness. The demon Mephisto wagers man is bad and to prove it sets a plague to Faust's village, knowing that Faust will be wracked with guilt as the leading scientist, but not being able to cure anyone. With this as a foundation, Mephisto knows Faust will make a deal with Satan to provide him the ability to cure and heal, with the only caveat: Faust's soul shall be bartered to the father of lies.
And Faust takes the bait.
The movie unfolds from there tackling tough issues such as reliance on faith as opposed to science and other such issues. Very Avant-Garde for it's time, and still a very controversial topic 80 years later. I do have to sit in wonder, as I write this review, of how a movie could stay so relevant and thought provoking after all this time. Will our movies today be watched in 80 years and make the audience consider their faith and their science?
The physical acting is key here, as the silence takes away much of the actors ability to convey emotions, and I feel the clear victor in that aspect is Emil Jennings, who plays the demon Mephisto, perfectly capturing the demonic aspects of the embodiment of evil. As a relevant fun fact, the demon Chernobog in Fantasia's "Night on Bald Mountain" is based loosely on Mephisto from this movie.
Also of note is Gösta Ekman, who plays the titular doctor. Ekman plays a very conflicted man, and he plays it well. When Faust is granted youth, you see a man who is not trying to live forever, but trying to relive the life he now feels is full of mistakes. And it's touching and sincere, not hammy and over played like could have happened.
In short, the movie is superb, a brilliant use of early special effects and a very forward thinking drama of morality and the condition of man.
Dr. Brooklyn says: LIKE this movie (8.75/10)
Thursday, September 9, 2010
Comic Book Wednesday (Thursday Edition) Part 2: DC
Keeping the status quo, I read a lot more Marvel stuff than I did DC stuff, but this week i read a DC book not tied directly into Brightest Day (Shocking I know).
BOOSTER GOLD #36
Words by: Keith Giffen
Art by: Pat Olliffe
For fans of Booster Gold this will be fun, Michael Carter is typical him and the interactions between himself and Blue Beetle II are gold (no pun intended), but sadly the story is quite week. I laughed a few times at the antics, but this movie seemed like a Will Ferrell movie a bunch of one or two page gags strung together with spider web thick plot. A loose tie in to JL:GL (see below) the story doesn't do a lot to affect the series like Blood on the Streets does with Shadowland. And this issue felt especially shallow when compared to the JL:GL issue that came out today as well.
Dr. Brooklyn says: PASS this issue (5/10)
GREEN LANTERN #57
Words by: Geoff Johns
Art by: Doug Mahnke
After me trashing Brightest Day for weeks now I am so pleased to read more GL stuff, because it reminds me that Johns is actually a really good writer. this story doesn't have a lot, but what it does have sets up a lot of stuff, like a possible break-up of Carol and Hal, and Hector still being on the loose. Also, it's got Larfleeze, who doesn't like Larfleeze? The plot in Vegas s good, and the comments made about love are pretty deep I think, and what it sets up makes me want more from Geoff Johns (as long as it's not BD)
Dr. Brooklyn says: LIKE this issue (9/10)
JUSTICE LEAGUE: GENERATION LOST #9
Words by: Judd Winick
Art by: Fernando Dagnino
Yeah, I've been talking about it pretty much the whole time I've been reviewing today, ans with good reason. This story furthers the plot, and builds more tension inside the reformed JLI, as well as actually bringing the team face to face with Lord in a great pseudo climax, but as the last page indicates this isn't the peak of this arc. I have been very pumped about this series for as long as it's been going and this issue doesn't let up, giving us great rising action for the next issue, and characterizes Booster Gold better than his own series. The action is intense, the art is vibrant, and the story is cool, I highly recommend this series to all reading this blog.
Dr. Brooklyn says: LIKE this issue (9/10)
So, with the DC stuff I read this week you can't go wrong with anything other than Booster Gold.
So there's this week in comics, I hope these reviews can point you to some awesomeness and I hope you guys come back for m next post
BOOSTER GOLD #36
Words by: Keith Giffen
Art by: Pat Olliffe
For fans of Booster Gold this will be fun, Michael Carter is typical him and the interactions between himself and Blue Beetle II are gold (no pun intended), but sadly the story is quite week. I laughed a few times at the antics, but this movie seemed like a Will Ferrell movie a bunch of one or two page gags strung together with spider web thick plot. A loose tie in to JL:GL (see below) the story doesn't do a lot to affect the series like Blood on the Streets does with Shadowland. And this issue felt especially shallow when compared to the JL:GL issue that came out today as well.
Dr. Brooklyn says: PASS this issue (5/10)
GREEN LANTERN #57
Words by: Geoff Johns
Art by: Doug Mahnke
After me trashing Brightest Day for weeks now I am so pleased to read more GL stuff, because it reminds me that Johns is actually a really good writer. this story doesn't have a lot, but what it does have sets up a lot of stuff, like a possible break-up of Carol and Hal, and Hector still being on the loose. Also, it's got Larfleeze, who doesn't like Larfleeze? The plot in Vegas s good, and the comments made about love are pretty deep I think, and what it sets up makes me want more from Geoff Johns (as long as it's not BD)
Dr. Brooklyn says: LIKE this issue (9/10)
JUSTICE LEAGUE: GENERATION LOST #9
Words by: Judd Winick
Art by: Fernando Dagnino
Yeah, I've been talking about it pretty much the whole time I've been reviewing today, ans with good reason. This story furthers the plot, and builds more tension inside the reformed JLI, as well as actually bringing the team face to face with Lord in a great pseudo climax, but as the last page indicates this isn't the peak of this arc. I have been very pumped about this series for as long as it's been going and this issue doesn't let up, giving us great rising action for the next issue, and characterizes Booster Gold better than his own series. The action is intense, the art is vibrant, and the story is cool, I highly recommend this series to all reading this blog.
Dr. Brooklyn says: LIKE this issue (9/10)
So, with the DC stuff I read this week you can't go wrong with anything other than Booster Gold.
So there's this week in comics, I hope these reviews can point you to some awesomeness and I hope you guys come back for m next post
Comic Book Wednesday (Thursday Edition) Part 1: Marvel
I hope everyone enjoyed labor day, I didn't because my comics got pushed off a day so I had to wait one more day before feeding the monkey on my back. But, today the monkey was fed, and here is a review of the meal I served to it.
DAKEN: DARK WOLVERINE #1
Words by: Dan Way and Marjorie Liu
Art by: Giuseppe Camuncoli
If you've read Dan Way's Deadpool stuff you know the man is a master of silliness, but he's also very adept at more serious stuff, and blending in some lighter moments. This issue is a prime example of that skill. A sort of tie in to "Wolverine #1" D:DW focuses on Wolverine's bastard and explains How Daken is making his way in the post Dark Reign world, not having read a lot of that stuff, I was slightly unfamiliar with the character, but after a few pages I knew I would like this series. The writing is strong, like I sad blending some serous drama (Daken hunting down Wolverine) with comedy (The part with the strawberry seduction of the designer) and making Daken a truly despicable bastard, but also charming in a Devil may care way. To appreciate this story you don't have to have read W #1, or any of Way's earlier work with Daken, but i can see how it would help. Still this book was a fun read and I look forward to more.
Dr. Brooklyn says: LIKE this issue (8/10)
DAREDEVIL #510
Words by Andy Diggle and Antony Johnston
Art by: Marco Checchetto
For the last few weeks my Marvel-centric reviews have just been love letters to Shadowland and all it has done/is doing. And Diggle steps it up another notch. Matt Murdock is essentially dead, now his body is just the vessel for a Beast coming to destroy the world and guide the hand to dominance, and the heroes know that his days must be numbered. In a startling turn of events the heroes decided, with Foggy Nelson and Dakota North as the only detractors, thatEdith Keeler Matt Murdock must die. Now, none of them are willing (or able to) kill the man without fear so they turn to some one who has been trying to since DD #1 appeared, Wilson Fisk himself. Diggle really out does himself raising the Shadowland Bar yet again and showing us that this Daredevil is some of the best Daredevil since that lanky psuedo-fascist stopped writing. The art continues to be above average and the writing continues to be superb.
Dr. Brooklyn says: LIKE this issue (9.5/10)
INVADERS NOW! #1 (of 5)
Words by: Christos Gage
Art by: Caio Reis
As a fan of the Invaders I was inclined to pick this one up, and it seems like Marvel is trying to do a version of Justice League: Generation Lost. The story unfolds like this, a ghost from the past of the Invaders forces them to get the band back together and the old guard meets with some of the new incarnations of various heroes (Cap and Union Jack) and they have to stop them like they did in the old days, because The avengers can't handle it. Sadly, the best part of this issue is the Alex Ross cover (which is like sex). The interior seems like a watered down Marvel-ized version of JL:GL, but not as good. I was let down by this story, but it does seem like the later issues may have some potential, so I recommend this one only because I hope this is the foundation for a good story.
Dr. Brooklyn says: AT LEAST READ THIS ISSUE (6.5/10)
INVINCIBLE IRON MAN #30
Words by: Matt Fraction
Art by: Salvador Larroca
A much as it pains me to say think IIM has been setting up a shark tank, a ramp, and getting a motorcycle to jump said shark with. The whole Iron Man suit being inside Tony's body was okay at first, but now I feel like the story s getting Tony away from being Tony, and I hate that i am losing that loving feeling. Right up until Stark got his mind back this series was one of my favorites, but then, I feel, it started to slip and this issue proves it. Tony and Justine Hammer are driving and she starts putting moves on him and blocking his sight, so he activates his knuckle "eyes" and drives the car with those. They get in a crash, and he walks out unscathed because his suit is inside him. I think what's happening is stark is becoming over powered, or at the very least Powered and that is not the point of Stark, he's not a super hero, he's a hero who does super things. And I feel like the last 7-8 issues have started to lose a grasp on that and it pains me so so much.
Dr. Brooklyn says (Mother, Forgive me): PASS this issue (5/10)
SHADOWLAND: BLOOD ON THE STREETS #2 (of 4)
Words by: Antony Johnston
Art by: Wellinton Alves
If you're tired of the Dr. B/SL romantic subplot of this blog, skip to the next review. This next installment of the Shadowland tie-in series delivers more excitement, with Shroud and Paladin facing off and Misty Knight coming to a startling realization... some one is framing the Hand. the issue then revolves around Knight and paladin trying to find out who, only to be set up themselves, facing down the guns of mobsters, standing over a dead body. The Multiple stories all serve to further the plot and I am fond of the dark and gritty coloring that the SL tie-ins have had, giving it a look and feel that this is darker than the rest of the 616 universe.
Dr. Brooklyn says: LIKE this issue (9/10)
ULTIMATE AVENGERS 3 #2 (of 6)
Words by: Mark Millar
Art by: Steve Dillon
Three words can sum up the awesomeness of this issue: Vampire Nerd Hulk. Oh wait, I need to add three more: Vampire Captain America! The issue starts with Cap telling Nerd hulk he's a Nerd (Um... it's even in his name, shouldn't that have been a clue to him?) and this makes NH run away, and run he does right into a Vampire ambush. the rest of the issue has the avengers hunting down NH, only for Cap to be bitten by Vampire Daredevil. The story is hard hitting, and Dillon's art is awesome (but does anyone expect less from the legend that is Dillon?) Ultimate Avengers may just be my favorite Series right now (up there with TWD, Captain America, Scalped, Secret Avengers, and Shadowland stuff)
Dr. Brooklyn says: LIKE this issue (9.5/10)
So this week if you're buying from Marvel you can't go wrong with Shadowland stuff or Ultimate Avengers, but some of their other stuff isn't as strong.
DAKEN: DARK WOLVERINE #1
Words by: Dan Way and Marjorie Liu
Art by: Giuseppe Camuncoli
If you've read Dan Way's Deadpool stuff you know the man is a master of silliness, but he's also very adept at more serious stuff, and blending in some lighter moments. This issue is a prime example of that skill. A sort of tie in to "Wolverine #1" D:DW focuses on Wolverine's bastard and explains How Daken is making his way in the post Dark Reign world, not having read a lot of that stuff, I was slightly unfamiliar with the character, but after a few pages I knew I would like this series. The writing is strong, like I sad blending some serous drama (Daken hunting down Wolverine) with comedy (The part with the strawberry seduction of the designer) and making Daken a truly despicable bastard, but also charming in a Devil may care way. To appreciate this story you don't have to have read W #1, or any of Way's earlier work with Daken, but i can see how it would help. Still this book was a fun read and I look forward to more.
Dr. Brooklyn says: LIKE this issue (8/10)
DAREDEVIL #510
Words by Andy Diggle and Antony Johnston
Art by: Marco Checchetto
For the last few weeks my Marvel-centric reviews have just been love letters to Shadowland and all it has done/is doing. And Diggle steps it up another notch. Matt Murdock is essentially dead, now his body is just the vessel for a Beast coming to destroy the world and guide the hand to dominance, and the heroes know that his days must be numbered. In a startling turn of events the heroes decided, with Foggy Nelson and Dakota North as the only detractors, that
Dr. Brooklyn says: LIKE this issue (9.5/10)
INVADERS NOW! #1 (of 5)
Words by: Christos Gage
Art by: Caio Reis
As a fan of the Invaders I was inclined to pick this one up, and it seems like Marvel is trying to do a version of Justice League: Generation Lost. The story unfolds like this, a ghost from the past of the Invaders forces them to get the band back together and the old guard meets with some of the new incarnations of various heroes (Cap and Union Jack) and they have to stop them like they did in the old days, because The avengers can't handle it. Sadly, the best part of this issue is the Alex Ross cover (which is like sex). The interior seems like a watered down Marvel-ized version of JL:GL, but not as good. I was let down by this story, but it does seem like the later issues may have some potential, so I recommend this one only because I hope this is the foundation for a good story.
Dr. Brooklyn says: AT LEAST READ THIS ISSUE (6.5/10)
INVINCIBLE IRON MAN #30
Words by: Matt Fraction
Art by: Salvador Larroca
A much as it pains me to say think IIM has been setting up a shark tank, a ramp, and getting a motorcycle to jump said shark with. The whole Iron Man suit being inside Tony's body was okay at first, but now I feel like the story s getting Tony away from being Tony, and I hate that i am losing that loving feeling. Right up until Stark got his mind back this series was one of my favorites, but then, I feel, it started to slip and this issue proves it. Tony and Justine Hammer are driving and she starts putting moves on him and blocking his sight, so he activates his knuckle "eyes" and drives the car with those. They get in a crash, and he walks out unscathed because his suit is inside him. I think what's happening is stark is becoming over powered, or at the very least Powered and that is not the point of Stark, he's not a super hero, he's a hero who does super things. And I feel like the last 7-8 issues have started to lose a grasp on that and it pains me so so much.
Dr. Brooklyn says (Mother, Forgive me): PASS this issue (5/10)
SHADOWLAND: BLOOD ON THE STREETS #2 (of 4)
Words by: Antony Johnston
Art by: Wellinton Alves
If you're tired of the Dr. B/SL romantic subplot of this blog, skip to the next review. This next installment of the Shadowland tie-in series delivers more excitement, with Shroud and Paladin facing off and Misty Knight coming to a startling realization... some one is framing the Hand. the issue then revolves around Knight and paladin trying to find out who, only to be set up themselves, facing down the guns of mobsters, standing over a dead body. The Multiple stories all serve to further the plot and I am fond of the dark and gritty coloring that the SL tie-ins have had, giving it a look and feel that this is darker than the rest of the 616 universe.
Dr. Brooklyn says: LIKE this issue (9/10)
ULTIMATE AVENGERS 3 #2 (of 6)
Words by: Mark Millar
Art by: Steve Dillon
Three words can sum up the awesomeness of this issue: Vampire Nerd Hulk. Oh wait, I need to add three more: Vampire Captain America! The issue starts with Cap telling Nerd hulk he's a Nerd (Um... it's even in his name, shouldn't that have been a clue to him?) and this makes NH run away, and run he does right into a Vampire ambush. the rest of the issue has the avengers hunting down NH, only for Cap to be bitten by Vampire Daredevil. The story is hard hitting, and Dillon's art is awesome (but does anyone expect less from the legend that is Dillon?) Ultimate Avengers may just be my favorite Series right now (up there with TWD, Captain America, Scalped, Secret Avengers, and Shadowland stuff)
Dr. Brooklyn says: LIKE this issue (9.5/10)
So this week if you're buying from Marvel you can't go wrong with Shadowland stuff or Ultimate Avengers, but some of their other stuff isn't as strong.
Tuesday, September 7, 2010
Born to Review
Most people know Lawrence Tierney from his later role, that of Joe Cabbot in Reservoir Dogs (You know the Fantastic Four? Lawrence Tierney looks JUST like the Thing), but long before he was yelling at Mr. Pink for not tipping, he was playing roles such as John Dillinger in Dillinger (1945), and Sam Wild in Born to Kill (1947), the latter being the focus of this review.
The movie starts with a scene of exposition, a pretty young thing named Helen Brent (Claire Trevor) stands on some courthouse steps discussing her divorce, and then a discussion of upcoming revelry. Change of scene!
Now we're with Wild, a hit-man who is committing a job, and now he's got to get out of town for a while, wait for the whole thing to cool down, but when Wild goes to the train he and Brent met up for the second time (they met at a casino) and soon the romantic tension begins.
The movie starts with a scene of exposition, a pretty young thing named Helen Brent (Claire Trevor) stands on some courthouse steps discussing her divorce, and then a discussion of upcoming revelry. Change of scene!
Now we're with Wild, a hit-man who is committing a job, and now he's got to get out of town for a while, wait for the whole thing to cool down, but when Wild goes to the train he and Brent met up for the second time (they met at a casino) and soon the romantic tension begins.
The Script by Eve Greene and Richard Macaulay is a tad forced, like the above scenes. Exposition is not spoon fed, but shovel fed, such as how by minute 19 Wild and Brent are already putting the moves on each other, and at 23 the conflict is firmly established, in the clever guise of Helen Brent's clean cut fiance, Fred, a classic example of the bad boy and the clean cut, all American guy squaring off, a trend that's been repeated a few times...
But that doesn't matter, the way it is done here is more on the unique side. Not only does Tierney go after the heart of Brent, but he marries Brent's foster sister before pursuing Brent, and pursue her he does. The two bounce off each other, hating that they love each other, but of course they must pursue their forbidden love. Even though at the beginning the script feels rushed, it does even out during Act II, and into Act III. I give credit here to Robert Wise, the director of this picture, who also has brought out great performances in The Day the Earth Stood Still (The Real One), The Sound of Music, and West Side Story.
While all these tangled webs are being woven, Albert Arnett (Walter Slezak) is tracking down Wild for the early movie murder. And Arnett is the only truly like able character. Now, the rest of the cast has ironic charm, a killer, a girl cheating on her husband, yadda yadda yadda, they are all terrible people, except our rotund detective.
The acting is pretty good, with a strong performance from Lawrence Tierney, who plays Sam Wild with a great balance of charm and an edge. Unlike many actors who can play tough guys (Lee Marvin) or charming guys (Paul Newman) Tierney does make it very believable that he is a tough as mails bamf, and that girls have a hard time not falling for his confidence, muscles, and that edge of danger women so greatly love.
On the other end of the central affair is Claire Trevor, who matches Tierney's foreboding with a certain strength herself, and being that woman that Wild wants more from than just sex. The two leads have amazing chemistry, and that really helps the average script.
I know it seems like I spent most of this review bashing the movie, but it's really not bad, it's just not amazing. The acting is strong, and the direction is superb, but the script is forced and uneven to start and the pacing seems off, being that it is only a 83 minute movie.
Dr. Brooklyn says: AT LEAST WATCH THIS MOVIE (7/10)
Bottom 5: Least Favorite Cartoon Characters
Everybody has favorite cartoon characters, some of mine are Zoidberg, Zapp Brannigan, Quagmire (despite me not watching Family Guy anymore) Kyle and Cartman, and Dale Gribble (for starters).
But on every show there has to be a character that you just can't stand. And because I almost exclusively watch cartoons, it is really easy for me to pick characters from this genre that I love... and pretty easy for me to pick characters I hate.
5. Peggy Hill
FROM: King of the Hill
Oh Peggy Hill, how do I loathe thee? I really like King of the Hill, I watch on average three episodes a day, but I can't stand Peggy Hill. Her arrogance and often times cruelty (though not from malice) make her really unlikeable, especially when compared to people like Dale, Bill, Boomhauer and Hank, who are flawed, but at the same time like able through their innocence (Bill), their insanity (Dale), their genuine good nature (Hank) and just being awesome (Boomhauer). Furthermore, people like Peggy irk me in real life, because as the saying goes "those who pretend to know it all ruin it for those of us who do."
4. Peter Griffin
FROM: Family Guy
It's not just that I don't like family guy anymore, but Peter always annoyed the crap out of me. In a role trying to emulate Fred Flintstone and Homer Simpson, Peter comes across not as like able and love able in an oafish way, but boorish and horrid. We get it, Peter's fat and unlikeable but he has a hot wife, wow... hilarious and original, Seth. but beyond that I hate how Peter is just crass, not witty like Cartman. At first I found him tolerable, but as i watched more and more Family Guy I learned to just despise him.
3. Sheila Broflovski
FROM: South Park
I know you're not supposed to side with her a lot, but the goal of a character, even if it's Hannibal Lector, is to be like able enough where you don't hate every minute they are on the screen, and sadly Mrs. Broflovski is one of those characters. for many of the reasons I don't like Peggy and Peter, i don't care for Sheila, because she's loud mouthed and brash, just sucking the life out of Gerald and the rest of South Park (on some occasions). On a show with such amazing characters as Eric Cartman, Butters, Mr/Mrs. Garrison, and Randy marsh, Sheila stands out for having a paper cut out thing character... pun not intended.
okay, yes it was.
2. Sierra
FROM: Total Drama World Tour
Duncan and Courtney made my top 5 couples list, and are my favorite characters from one of my favorite shows at the moment, but Sierra is not even close to the top. On a faux-reality show Sierra plays the role of obsessed fan who finally gets on the show, but instead of being like able in a geeky way, she comes across as creepy and essentially a stalker, well, she is. My main problem with her is this, if you bring in a new character, to replace an old character, the new character had better be better than the new. two of my favorite characters (Geoff an Trent) were left off the show and this unlikeable waste of animation made the cut? that Dog won't hunt Monsignor.
1. Beth
FROM: Total Drama Island, Action, and Aftermath episodes of World Tour
Yeah, it's ironic that one of my favorite shows would give me my top (or bottom) least favorite characters, but the Total Drama series succeeded in not only giving me Sierra to hate this season, but Beth from season one. Beth is like Napoleon dynamite, but a female, and with out the social graces. She does stupid stuff, and as shown in TDA does underhanded things behind peoples backs, so any likability she had... was lost. In addition, she was actually cursed in one episode, and routinely took punishment, a clue that even the writers don't like her. And for that I salute Beth as the worst cartoon character.
So, there's my Bottom 5, if you disagree comment... and then I'll tell you where to put that comment.
In the comment section, duh.
But on every show there has to be a character that you just can't stand. And because I almost exclusively watch cartoons, it is really easy for me to pick characters from this genre that I love... and pretty easy for me to pick characters I hate.
5. Peggy Hill
Oh Peggy Hill, how do I loathe thee? I really like King of the Hill, I watch on average three episodes a day, but I can't stand Peggy Hill. Her arrogance and often times cruelty (though not from malice) make her really unlikeable, especially when compared to people like Dale, Bill, Boomhauer and Hank, who are flawed, but at the same time like able through their innocence (Bill), their insanity (Dale), their genuine good nature (Hank) and just being awesome (Boomhauer). Furthermore, people like Peggy irk me in real life, because as the saying goes "those who pretend to know it all ruin it for those of us who do."
4. Peter Griffin
It's not just that I don't like family guy anymore, but Peter always annoyed the crap out of me. In a role trying to emulate Fred Flintstone and Homer Simpson, Peter comes across not as like able and love able in an oafish way, but boorish and horrid. We get it, Peter's fat and unlikeable but he has a hot wife, wow... hilarious and original, Seth. but beyond that I hate how Peter is just crass, not witty like Cartman. At first I found him tolerable, but as i watched more and more Family Guy I learned to just despise him.
3. Sheila Broflovski
I know you're not supposed to side with her a lot, but the goal of a character, even if it's Hannibal Lector, is to be like able enough where you don't hate every minute they are on the screen, and sadly Mrs. Broflovski is one of those characters. for many of the reasons I don't like Peggy and Peter, i don't care for Sheila, because she's loud mouthed and brash, just sucking the life out of Gerald and the rest of South Park (on some occasions). On a show with such amazing characters as Eric Cartman, Butters, Mr/Mrs. Garrison, and Randy marsh, Sheila stands out for having a paper cut out thing character... pun not intended.
okay, yes it was.
2. Sierra
Duncan and Courtney made my top 5 couples list, and are my favorite characters from one of my favorite shows at the moment, but Sierra is not even close to the top. On a faux-reality show Sierra plays the role of obsessed fan who finally gets on the show, but instead of being like able in a geeky way, she comes across as creepy and essentially a stalker, well, she is. My main problem with her is this, if you bring in a new character, to replace an old character, the new character had better be better than the new. two of my favorite characters (Geoff an Trent) were left off the show and this unlikeable waste of animation made the cut? that Dog won't hunt Monsignor.
1. Beth
Yeah, it's ironic that one of my favorite shows would give me my top (or bottom) least favorite characters, but the Total Drama series succeeded in not only giving me Sierra to hate this season, but Beth from season one. Beth is like Napoleon dynamite, but a female, and with out the social graces. She does stupid stuff, and as shown in TDA does underhanded things behind peoples backs, so any likability she had... was lost. In addition, she was actually cursed in one episode, and routinely took punishment, a clue that even the writers don't like her. And for that I salute Beth as the worst cartoon character.
So, there's my Bottom 5, if you disagree comment... and then I'll tell you where to put that comment.
In the comment section, duh.
Sunday, September 5, 2010
Network: A movie review
This review is about Howard Beale, who was the network news anchor on UBS tv.
Some movies serve just to entertain. Things like 300 and Sin City don't try to make you think, they make you feel comfortable and just use visual cues that will trigger positive responses whether they be inspirational in the form of few fighting many, or testosterone in the form of Dwight and Marv kicking the shit out of Jack Rafferty and Cardnial Roark.
Then there are movies like Network (1976) which tries to entertain, but it tries harder to make the viewer think about stuff. Stuff the viewer doesn't want to think about.
Right from the start you are forced to think about suicide and how ratings dominate the lives of all involved with TV news. Then segues into how the ratings have actually become more valuable than the lives of the people tasked with obtaining them. Much like the South Park Episode "Quest for Ratings"
For example, the first idea is for a show to follow a terrorist group and use actual footage of the terrorists robbing and killing, simply because it would bring ratings. Tv shows about horrible human beings that commit crimes and generally waste valuable resources? At the time it must have been deemed appalling, now it's called VH1 Celebreality (Too far?).
Then Howard Beale goes on his first rant of the movie, calling everything from God to the News "bullshit," and in a piece of irony, the iconoclast giving his last hurrah draws ratings the network hadn't dreamed of, and as a result... Beale becomes a folk hero, giving voice to the pissed off American, and thus gets to keep his job.
As the movie goes on Beale becomes a Glenn Beck like figure, capturing minds and ranting on everything, becoming bigger and bigger, pissing off more and more people, but not the viewing people who keep turning in.
But what goes up, must come downspinning wheel, got to go round And soon Hackett plans that Caesarian downfall, and Beale's assassanation is planned, and committed.
The script is strong, really strong. I am amazed at the way that Paddy Chayefsky captures the slimy underbelly of Network news, much like Wilder and Brackett captured Hollywood in Sunset Boulevard (Bizarrely, both contain great performances from William Holden). In today's world, looking back on Network it seems like the movie should be set in 2010. People upset about war, the economy ("You think they'll quite their Jobs for you? Not in this Recession."), feelings of mistrust towards the president and government in general, thus Beale's appeal. Beale is written not in a way that only people in 1976 would relate to, but people would relate to as long as there is a world for there to be problems in. But don't listen to me, listen to the Writers Guild of America, East who voted this script as one of the 10 best... ever.
Beyond the script, the acting is fantastic, with three oscars being given to three actors (Best Actor: Finch, Best Actress: Dunaway, and Best Supporting Actress: Beatrice Straight)
Let me begin with anchorman, Howard Beale, or the Late Peter Finch (One of Two to win a posthoumous Oscar). Finch plays this role with conviction and also a very believable insanity. In playing a role like this an actor could be tempted to over act, but Finch doesn't. He keeps his insanity not as over done, but reigned in enough to create controlled chaos.
Next to discuss is William Holden, has he ever given a weak performance? Holden plays an aging UBS employee Max Schumacher, fired and vindictive. With a friend like Beale it is hard to come across as a true friend (Patrick Wilson had a similar challenge in Watchmen), but Holden does it. He makes you believe that he truly cares for Howard Beale, a man creating himself as a prophet. The sincerety which Holden brings to the role makes him the true hero of the movie, by being that man who can stay true to himself, even when those around him care more about beatingAnimals Close Up With a Wide-Angle Lens every other show.
What movie would be complete without a strong female lead? Not this one. Faye Dunaway delivers a truly amazing performance as a ratings hungry TV exec. Equal parts cunning and greedy (and foxy) Dunaway earns her Oscar with every line. This is the first movie I've seen with her, but now I want to rush out and watch more titles with her.
And finally Robert Duvall, a.k.a.Tom Hagen. Duvall does something incredible, he's the least likeable person in this movie. And because of that he is likeable it an ironic way.
All in all this movie is a brilliant piece of satire, and a scathing review of TV in general. If you haven't seen it, go and watch it.... now!
Dr. Brooklyn says: LIKE this movie (10/10)
Some movies serve just to entertain. Things like 300 and Sin City don't try to make you think, they make you feel comfortable and just use visual cues that will trigger positive responses whether they be inspirational in the form of few fighting many, or testosterone in the form of Dwight and Marv kicking the shit out of Jack Rafferty and Cardnial Roark.
Then there are movies like Network (1976) which tries to entertain, but it tries harder to make the viewer think about stuff. Stuff the viewer doesn't want to think about.
Right from the start you are forced to think about suicide and how ratings dominate the lives of all involved with TV news. Then segues into how the ratings have actually become more valuable than the lives of the people tasked with obtaining them. Much like the South Park Episode "Quest for Ratings"
For example, the first idea is for a show to follow a terrorist group and use actual footage of the terrorists robbing and killing, simply because it would bring ratings. Tv shows about horrible human beings that commit crimes and generally waste valuable resources? At the time it must have been deemed appalling, now it's called VH1 Celebreality (Too far?).
Then Howard Beale goes on his first rant of the movie, calling everything from God to the News "bullshit," and in a piece of irony, the iconoclast giving his last hurrah draws ratings the network hadn't dreamed of, and as a result... Beale becomes a folk hero, giving voice to the pissed off American, and thus gets to keep his job.
As the movie goes on Beale becomes a Glenn Beck like figure, capturing minds and ranting on everything, becoming bigger and bigger, pissing off more and more people, but not the viewing people who keep turning in.
But what goes up, must come down
The script is strong, really strong. I am amazed at the way that Paddy Chayefsky captures the slimy underbelly of Network news, much like Wilder and Brackett captured Hollywood in Sunset Boulevard (Bizarrely, both contain great performances from William Holden). In today's world, looking back on Network it seems like the movie should be set in 2010. People upset about war, the economy ("You think they'll quite their Jobs for you? Not in this Recession."), feelings of mistrust towards the president and government in general, thus Beale's appeal. Beale is written not in a way that only people in 1976 would relate to, but people would relate to as long as there is a world for there to be problems in. But don't listen to me, listen to the Writers Guild of America, East who voted this script as one of the 10 best... ever.
Beyond the script, the acting is fantastic, with three oscars being given to three actors (Best Actor: Finch, Best Actress: Dunaway, and Best Supporting Actress: Beatrice Straight)
Let me begin with anchorman, Howard Beale, or the Late Peter Finch (One of Two to win a posthoumous Oscar). Finch plays this role with conviction and also a very believable insanity. In playing a role like this an actor could be tempted to over act, but Finch doesn't. He keeps his insanity not as over done, but reigned in enough to create controlled chaos.
Next to discuss is William Holden, has he ever given a weak performance? Holden plays an aging UBS employee Max Schumacher, fired and vindictive. With a friend like Beale it is hard to come across as a true friend (Patrick Wilson had a similar challenge in Watchmen), but Holden does it. He makes you believe that he truly cares for Howard Beale, a man creating himself as a prophet. The sincerety which Holden brings to the role makes him the true hero of the movie, by being that man who can stay true to himself, even when those around him care more about beating
What movie would be complete without a strong female lead? Not this one. Faye Dunaway delivers a truly amazing performance as a ratings hungry TV exec. Equal parts cunning and greedy (and foxy) Dunaway earns her Oscar with every line. This is the first movie I've seen with her, but now I want to rush out and watch more titles with her.
And finally Robert Duvall, a.k.a.Tom Hagen. Duvall does something incredible, he's the least likeable person in this movie. And because of that he is likeable it an ironic way.
All in all this movie is a brilliant piece of satire, and a scathing review of TV in general. If you haven't seen it, go and watch it.... now!
Dr. Brooklyn says: LIKE this movie (10/10)
Saturday, September 4, 2010
Vanishing Point: A Review (The UK release)
Nothing screams manly like driving a muscle car. Sure, that's stereotypical but it you jump in a Dodge Charger, turn the AC/DC to 11 and hit an open stretch of road, I dare you to not feel bad ass. And as a result of this feeling a sub genre of Action was born, The Car Chase movie, also known as Carsploitation.
This movie is a prime example of that type of movie.
Vanishing Point (1971) is all about living hard and driving fast, kind of like the 1971 version of Fastlane (02-03). Kowalski (Barry Newman [Hhheelllloo Newman.]) sets out of Denver, trying to drive his all white Charger to San Francisco... in 15 hours. As a result he's destined for a couple of face offs with Johnny Law, and no road movie is complete with out bumping into a bunch of wild and crazy guys (Thank you Easy Rider for establishing precedent).
The first crazy guy is Super Soul, a blind DJ played by Cleavon Little (The Sheriff from Blazing Saddles). But SS isn't your average blind DJ, he's also a blind African American Nostradamus, yes, because he's blind he can see the future. Who serves as a narrator in a way, describing Kowalski's trip on his Radio program. Furthermore, Super Soul gathers a counterculture following for Kowalski, even contacting Kowalski via the Radio.
Shortly after that, Kowalski bumps into a Snake collector/Prospector, who catches snakes and trades them for supplies. Acting like a sunburned Yoda, the man offers Kowalski advice and helps him avoid the cops, and getting him back on his way to Frisco.
And what road movie would be complete without a group of faith healers? Kowalski and the Snake Man stop to trade snakes for gas, and other supplies, and after a brief interaction, Kowalski's off down the road again.
In addition to the vast range of characters above there's a gay couple, who try and rob him, leading to a two on one fight inside the charger and a hasty exit for the pair, leaving Kowalski by himself with the road,
This movie, (Which Tarantino loves [watch Death Proof]), is obviously an influence of Tarantino. The sound track is quite eclectic, overlapping smooth jams and high octane chases in some scenes, which all really reeks of our man Quentin, also, a song with lyrics such as "Love one another, pretend we're all brothers" plays when a group of racists come to beat up Super Soul and his fellow black radio men, a very Tarantino kind of scene.Furthering the Tarantino-esque feel the story jumps around. routinely going from Super Soul, back to Kowalski, and then to the Police, with flashbacks (to Kowalski's racing days) and the start of the movie being after the rest of the plot. Also, as can be discerned from the above character descriptions, Tarantinos knack for unique and memorable side characters may come from his respect from this movie, but it's hard to tell for sure.
The cinematography is gorgeous, easily on par with Easy Rider, from wide shots to show the road and the Charger in all it's made in America glory, as well as the extreme close ups worthy of Sergio Leone, this movie is shot fantastically well. And because it came long before the "shaky cam" revolution you won't get motion sick as Kowlaski drag races across the desert.
Kowalski himself, kind of has a "Man with no Name" vibe, sure he's known as Kowalski, but his first name is unknown. And he doesn't really say enough for us to get to know him, he just drives fast, and kicks ass. He does have a history, as a soldier, a cop, a Demolition derby driver, and all sorts of criminal activities that set him up as a rebel without a cause.
Basically, this movie is kind of like Easy Rider, but with cars. There's drugs, sex, and political messages all veiled by a loud muscle car. I personally prefer this to Easy Rider, because the plot is more coherent, it blends the drug culture and the road, much better, with out just focusing on the drugs.
Dr. Brooklyn says: LIKE this movie (8.5/10)
This movie is a prime example of that type of movie.
Vanishing Point (1971) is all about living hard and driving fast, kind of like the 1971 version of Fastlane (02-03). Kowalski (Barry Newman [Hhheelllloo Newman.]) sets out of Denver, trying to drive his all white Charger to San Francisco... in 15 hours. As a result he's destined for a couple of face offs with Johnny Law, and no road movie is complete with out bumping into a bunch of wild and crazy guys (Thank you Easy Rider for establishing precedent).
The first crazy guy is Super Soul, a blind DJ played by Cleavon Little (The Sheriff from Blazing Saddles). But SS isn't your average blind DJ, he's also a blind African American Nostradamus, yes, because he's blind he can see the future. Who serves as a narrator in a way, describing Kowalski's trip on his Radio program. Furthermore, Super Soul gathers a counterculture following for Kowalski, even contacting Kowalski via the Radio.
Shortly after that, Kowalski bumps into a Snake collector/Prospector, who catches snakes and trades them for supplies. Acting like a sunburned Yoda, the man offers Kowalski advice and helps him avoid the cops, and getting him back on his way to Frisco.
And what road movie would be complete without a group of faith healers? Kowalski and the Snake Man stop to trade snakes for gas, and other supplies, and after a brief interaction, Kowalski's off down the road again.
In addition to the vast range of characters above there's a gay couple, who try and rob him, leading to a two on one fight inside the charger and a hasty exit for the pair, leaving Kowalski by himself with the road,
This movie, (Which Tarantino loves [watch Death Proof]), is obviously an influence of Tarantino. The sound track is quite eclectic, overlapping smooth jams and high octane chases in some scenes, which all really reeks of our man Quentin, also, a song with lyrics such as "Love one another, pretend we're all brothers" plays when a group of racists come to beat up Super Soul and his fellow black radio men, a very Tarantino kind of scene.Furthering the Tarantino-esque feel the story jumps around. routinely going from Super Soul, back to Kowalski, and then to the Police, with flashbacks (to Kowalski's racing days) and the start of the movie being after the rest of the plot. Also, as can be discerned from the above character descriptions, Tarantinos knack for unique and memorable side characters may come from his respect from this movie, but it's hard to tell for sure.
The cinematography is gorgeous, easily on par with Easy Rider, from wide shots to show the road and the Charger in all it's made in America glory, as well as the extreme close ups worthy of Sergio Leone, this movie is shot fantastically well. And because it came long before the "shaky cam" revolution you won't get motion sick as Kowlaski drag races across the desert.
Kowalski himself, kind of has a "Man with no Name" vibe, sure he's known as Kowalski, but his first name is unknown. And he doesn't really say enough for us to get to know him, he just drives fast, and kicks ass. He does have a history, as a soldier, a cop, a Demolition derby driver, and all sorts of criminal activities that set him up as a rebel without a cause.
Basically, this movie is kind of like Easy Rider, but with cars. There's drugs, sex, and political messages all veiled by a loud muscle car. I personally prefer this to Easy Rider, because the plot is more coherent, it blends the drug culture and the road, much better, with out just focusing on the drugs.
Dr. Brooklyn says: LIKE this movie (8.5/10)
Wednesday, September 1, 2010
Comic Book Wednesday Part 3: The Rest
In addition to DC and Marvel, Image and Dynamite make my long box, and here's what they had to offer this week:
Oh yeah, Spoiler alert now!
NANCY IN HELL 2 (of 4)
Words by: El Torres
Art by: Juan Jose Ryp
After issue 1 I thought this series would just be a balls to the wall action series, but issue 2 actually adds depth and Religious elements, along with beautiful art. As Nancy and Lucifer try and leave Hell, we learn a lot about Lucifer, and a bit about Nancy, while at the same time a villain (yes, Lucifer is a protagonist) is starting to take more prominence. The writing is cool, with Nancy being more like Ripley from Aliens than a generic Slasher movie Bimbo, and Lucifer is actually a tragic character. And if you start to feel for the father of lies, you know the series isn't bad. I have high hopes for this series, and I hope you guys give this series a chance.
Dr. Brooklyn says: LIKE this issue (8.5/10)
THE BOYS #46
Words by: Garth Ennis
Art by. Darick Robertson
As a Catholic I'm not totally sold on this Believe arc, mainly due to it's total faith bashing, but Ennis is such a good writer, I can't wait for more. This issue in particular furthers the Hughie's spiral after finding out that Annie is Starlight... oh and he finds out she sucked the dicks of Homelander, The Deep, and A-Train. But more importantly we see Butcher being Butcher, trying to be a good guy, but knowing he has to be harsh with Hughie. The Art is brutal, and the writing is graphic, but damn is this series awesome! I particularly love how Ennis is still giving new depth to his characters (even after 46 issues). I highly recommend this series (but make sure you read it from the beginning)
Dr. Brooklyn says: LIKE this issue (10/10)
Oh yeah, Spoiler alert now!
NANCY IN HELL 2 (of 4)
Words by: El Torres
Art by: Juan Jose Ryp
After issue 1 I thought this series would just be a balls to the wall action series, but issue 2 actually adds depth and Religious elements, along with beautiful art. As Nancy and Lucifer try and leave Hell, we learn a lot about Lucifer, and a bit about Nancy, while at the same time a villain (yes, Lucifer is a protagonist) is starting to take more prominence. The writing is cool, with Nancy being more like Ripley from Aliens than a generic Slasher movie Bimbo, and Lucifer is actually a tragic character. And if you start to feel for the father of lies, you know the series isn't bad. I have high hopes for this series, and I hope you guys give this series a chance.
Dr. Brooklyn says: LIKE this issue (8.5/10)
THE BOYS #46
Words by: Garth Ennis
Art by. Darick Robertson
As a Catholic I'm not totally sold on this Believe arc, mainly due to it's total faith bashing, but Ennis is such a good writer, I can't wait for more. This issue in particular furthers the Hughie's spiral after finding out that Annie is Starlight... oh and he finds out she sucked the dicks of Homelander, The Deep, and A-Train. But more importantly we see Butcher being Butcher, trying to be a good guy, but knowing he has to be harsh with Hughie. The Art is brutal, and the writing is graphic, but damn is this series awesome! I particularly love how Ennis is still giving new depth to his characters (even after 46 issues). I highly recommend this series (but make sure you read it from the beginning)
Dr. Brooklyn says: LIKE this issue (10/10)
Comic Book Wednesday Part 2: Marvel
Unlike DC, I read a fistful of Marvel comics, so here goes some reviewing.
WOLVERINE: ROAD TO HELL
"Falling"
Words by: Jason Aaron
Art by: Renato Guedes
"Brace for Impact"
Words by: Dan Way and Marjorie Liu
Art by: Giuseppe Camuncoli,Onofrio Catacchio, and Will Conrad
"The First Day of the Rest of Your Life"
Words by: Rick Remender
Art by: Leonardo Manco
If you aren't planning on reading the new Wolverine series (So my question is why the hell don't you plan on reading it?), Daken: Dark Wolverine, or Uncanny X-Force this issue is a total pass. Frankly, there is nothing here except Marvel pimping several upcoming series. All the stories are a few pages, then a "continued in..." There's also some sketch pages, which are cool, and there are two other previews to Namor #1 (which came out last week) and a preview for Uncanny X-Men: Generation of Hope. So, really, this issue doesn't serve any purpose except a few pages that seem like they could have been cut out of Wolverine #1 (see below).
Dr. Brooklyn says: PASS on this issue (5/10)
WOLVERINE #1
Words by: Jason Aaron
Art by: Renato Guedes
After reading Road to Hell (see right above), I was a little less excited about Wolverine #1, but boy was I wrong. Aaron delivers one hell of a punch , from beginning to end this issue is full of "Kapow!" after "BOFF!" right to the gut of the reader. This issue sets up a lot, Logan gets to Hell where Old Scratch pretty much says he's going to use Logan as an ass bitch, while Logan's girlfriend is hunted by a group of Slasher movie rejects, only to be saved by Mystique. The art was the right amount of dark and devastating, and the writing is quality stuff, not Scalped of Punishermax good, but Aaron still ranks higher than most other writers today. This book was a really fun read and I can't wait for more.
Dr. Brooklyn says: LIKE this issue (9/10)
SHADOWLAND: ELEKTRA (1 SHOT)
Words by: Zeb Wells
Art by: Emma Rios
This was the issue of Shadowland I was looking forward to the least, I knew Elektra would be coming back, but I'm one of those guys who when Miller said he intended Ms. Natchios to stay dead... she should have stayed dead. But, here we are... and I was pleased. The Issue serves mainly as a set up to SL #3 (see next review). While pulling a job, Elektra is contacted by Izo, informing her of Mattgoing batshit crazy making some ill informed choices going batshit crazy and stabbing Bullseye, which in a very touching sequence, causes Elektra to smile and say 'Thank You', which causes Elektra to agree that she will help infiltrate Shadowland and try to save Matt Murdock. And if you read my post the other day, you know why this issue made me happy.
Dr. Brooklyn says: LIKE this issue (9/10)
SHADOWLAND #3
Words by: Andy Diggle
Art by: Billy Tan
After SL #2, I figured that the series couldn't continue to go up... I was wrong. Diggle is telling a great story here, and this issue really cranks it up to 11. The opening panel continues from SL:MK, with Jake Lockley (Moonknight) fighting a shit ton of ninjas.From there, Ghost Rider comes in, kills the ninjas and rides into the night. From there we go to the Super Delegates from #2, who are getting their asses handed to them by the Hand, and then Dardevil goes on a BAMF spree. Taking out Iron Fist and Shang-Chi and dodging Spider-Man's blast, and then gives the order to kill the heroes... who are saved by the Mutha Fucking Punisher wielding a min-gun The issue ends with Daredevil digging up Bullseye, with plans of pulling a Herbert West. And everyone's favorite Greek Ninja showing up. The art was average, but Damn, Diggle knows how to craft a story, perfectly giving each side story a bit of panel time, without cutting any of them short. Like I've said with all the Shadowland issues, READ SHADOWLAND!!! NOW!!!!
Dr. Brooklyn says: LIKE this Issue (9.5/10)
DEADPOOL PULP 1 (of 4)
Words by: Adam Glass and Mike Benson
Art by: Laurence Campbell
I am getting a little tired of seeing Deadpool's name on the Comic rack at The Top Comics. It's almost as bad as the nigh infinite Green Hornet titles Dynamite is putting out, but I buy most of the Deadpool stuff, and as such I picked up Deadpool Pulp. And this series seems to affirm my statement that if it's not by Dan Way it's not Deadpool. This series doesn't know what it is, yet... that I know of. If Glass and Benson know, they are hiding it from us. The art is dark and grungy, as is 98% of the dialogue, but Deadpool's voice boxes pop up and completely go against the rest of the issue. The other problem is that the hyper serious 98% is not Deadpool, Deadpool just decides to be a pirate one day and has HYDRA Bob dress like a parrot, not this Deadpool In Name Only.
Dr. Brooklyn says: PASS on this issue (6/10)
The Shadowland stuff was easily the best stuff from Marvel I read this week, and that's the series that you guys really need to read... so go read it! (After you read my next post, of course)
WOLVERINE: ROAD TO HELL
"Falling"
Words by: Jason Aaron
Art by: Renato Guedes
"Brace for Impact"
Words by: Dan Way and Marjorie Liu
Art by: Giuseppe Camuncoli,Onofrio Catacchio, and Will Conrad
"The First Day of the Rest of Your Life"
Words by: Rick Remender
Art by: Leonardo Manco
If you aren't planning on reading the new Wolverine series (So my question is why the hell don't you plan on reading it?), Daken: Dark Wolverine, or Uncanny X-Force this issue is a total pass. Frankly, there is nothing here except Marvel pimping several upcoming series. All the stories are a few pages, then a "continued in..." There's also some sketch pages, which are cool, and there are two other previews to Namor #1 (which came out last week) and a preview for Uncanny X-Men: Generation of Hope. So, really, this issue doesn't serve any purpose except a few pages that seem like they could have been cut out of Wolverine #1 (see below).
Dr. Brooklyn says: PASS on this issue (5/10)
WOLVERINE #1
Words by: Jason Aaron
Art by: Renato Guedes
After reading Road to Hell (see right above), I was a little less excited about Wolverine #1, but boy was I wrong. Aaron delivers one hell of a punch , from beginning to end this issue is full of "Kapow!" after "BOFF!" right to the gut of the reader. This issue sets up a lot, Logan gets to Hell where Old Scratch pretty much says he's going to use Logan as an ass bitch, while Logan's girlfriend is hunted by a group of Slasher movie rejects, only to be saved by Mystique. The art was the right amount of dark and devastating, and the writing is quality stuff, not Scalped of Punishermax good, but Aaron still ranks higher than most other writers today. This book was a really fun read and I can't wait for more.
Dr. Brooklyn says: LIKE this issue (9/10)
SHADOWLAND: ELEKTRA (1 SHOT)
Words by: Zeb Wells
Art by: Emma Rios
This was the issue of Shadowland I was looking forward to the least, I knew Elektra would be coming back, but I'm one of those guys who when Miller said he intended Ms. Natchios to stay dead... she should have stayed dead. But, here we are... and I was pleased. The Issue serves mainly as a set up to SL #3 (see next review). While pulling a job, Elektra is contacted by Izo, informing her of Matt
Dr. Brooklyn says: LIKE this issue (9/10)
SHADOWLAND #3
Words by: Andy Diggle
Art by: Billy Tan
After SL #2, I figured that the series couldn't continue to go up... I was wrong. Diggle is telling a great story here, and this issue really cranks it up to 11. The opening panel continues from SL:MK, with Jake Lockley (Moonknight) fighting a shit ton of ninjas.From there, Ghost Rider comes in, kills the ninjas and rides into the night. From there we go to the Super Delegates from #2, who are getting their asses handed to them by the Hand, and then Dardevil goes on a BAMF spree. Taking out Iron Fist and Shang-Chi and dodging Spider-Man's blast, and then gives the order to kill the heroes... who are saved by the Mutha Fucking Punisher wielding a min-gun The issue ends with Daredevil digging up Bullseye, with plans of pulling a Herbert West. And everyone's favorite Greek Ninja showing up. The art was average, but Damn, Diggle knows how to craft a story, perfectly giving each side story a bit of panel time, without cutting any of them short. Like I've said with all the Shadowland issues, READ SHADOWLAND!!! NOW!!!!
Dr. Brooklyn says: LIKE this Issue (9.5/10)
DEADPOOL PULP 1 (of 4)
Words by: Adam Glass and Mike Benson
Art by: Laurence Campbell
I am getting a little tired of seeing Deadpool's name on the Comic rack at The Top Comics. It's almost as bad as the nigh infinite Green Hornet titles Dynamite is putting out, but I buy most of the Deadpool stuff, and as such I picked up Deadpool Pulp. And this series seems to affirm my statement that if it's not by Dan Way it's not Deadpool. This series doesn't know what it is, yet... that I know of. If Glass and Benson know, they are hiding it from us. The art is dark and grungy, as is 98% of the dialogue, but Deadpool's voice boxes pop up and completely go against the rest of the issue. The other problem is that the hyper serious 98% is not Deadpool, Deadpool just decides to be a pirate one day and has HYDRA Bob dress like a parrot, not this Deadpool In Name Only.
Dr. Brooklyn says: PASS on this issue (6/10)
The Shadowland stuff was easily the best stuff from Marvel I read this week, and that's the series that you guys really need to read... so go read it! (After you read my next post, of course)
Comic Book Wednesday Part 1:DC
It's that time of the week again, and being a major nerd I went out and bought some comics, and here's what I thought about the DC comic I bought.
BRIGHTEST DAY #9
Words by: Geoff Johns
Art by: Peter Tomasi
If you've read my last few CBW posts you know I haven't been too hot on this series, or the various tie ins. But, this issue, following #8 is starting to make an upward swing, with plot development and characters getting fleshed out. In this issue, Aquaman hunts the girl with a dragon tattoo the boy with an eel tattoo, who lives in New Mexico and seems like a Storm-Aquaman hybrid. But the main plot of this issue is that of Martian Manhunter and Green Arrow getting some leads as to what they need to do, as well as setting up Martian Manhunter as big part for the future of the DCU, after BD ends. Frankly, I liked this issue, well, I really only liked the MM parts, but BD is finally picking up, and if #10 keeps this upswing going I might be able to forgive Johns for 1-7.
Dr. Brooklyn says: At least Read this issue (7/10)
So, because BD #9 was the only DC comic I read, it was the best... but... it still wasn't great.
BRIGHTEST DAY #9
Words by: Geoff Johns
Art by: Peter Tomasi
If you've read my last few CBW posts you know I haven't been too hot on this series, or the various tie ins. But, this issue, following #8 is starting to make an upward swing, with plot development and characters getting fleshed out. In this issue, Aquaman hunts
Dr. Brooklyn says: At least Read this issue (7/10)
So, because BD #9 was the only DC comic I read, it was the best... but... it still wasn't great.
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