Hey guys, just so you know I AM alive... but barely due to exam week. The Doctor has been getting schooled. That having been said I am making my triumphant return to the reviewing game... so buckle up... we're going to go for a little journey.
Although many don't want to admit it... the Horror genre has actually contributed some of the finest movies ever made: Dracula (1931), Rosemary's Baby (1968), The Excorcist (1973), Halloween (1978), etc. But, soon people didn't want strict fear inducing scenes, and soon horror-comedy was born. Of course to cinema goers in modern times horror-comedy is nothing new, movies like the Scream series and 2004's modern classic Shaun of the Dead have gained widespread popularity that horror movies with campy humor are almost the new status quo, but this new breed of horror movie's was not a recent creation.
In the early 80s there was a movie that challenged what people expected from horror, for example one doesn't expect a horror movie to begin with peaceful shots a a tranquil moor... matched up with a peaceful little diddy like "Blue Moon" sung by velvet tongued crooner Bobby Vinton. The more common place opening usually involves a bloody massacre to get viewers attention, making An American Werewolf in London (1981) all the more unique.
But the camp factor was not the only factor that sets this movie apart. The way David (David Naughton) discovers his condition is amongst the more inventional aspects, Landis beautifully uses dreams, flashbacks, and a chilling and chuckle inducing scene with David's deceased friend, Jack (Griffin Dunne). The script is pretty inventive, not relying solely on Werewolf canon as passed down from such classics as The Wolf Man (1941), instead flexing the mythos a tad here and there to make the movie more modern and appealing. I was also impressed with how Landis (mostly known for his classic comedies and the Thriller music video) was able to craft a very good werewolf based script... leaving behind animals like Bluto to make one of the best were wolf movies ever.
But it's not just the script that Landis got right. The over all vibe of the movie is perfect. All the archetypes are presented in ways that are both traditional and new. The creepy townsfolk provide some of the best town fillers since the robots of Thermostadt in the Futurama episode The Honking. And, although I did say that the Werewolf tale was modernized a bit, the key elements are respected such as only a loved one can kill a lycanthrope, etc. (There are none of those fake Twilight Werewolves here). But one of the true highlights is the Tarantino esque soundtrack, ironically matching songs involving the moon with intense violence and moments that one wouldn't associate with a certain song, adding to diffuse the horror and make the viewer half smile... even while David is writhing in pain during a horrific transformation.
Speaking of that transformation, the movie truly does deserve the praise for it's groundbreaking make up work. Before computers could do everything Baker and his boys put on one heck of a show during the transformations, and when Jack shows up as a decaying corpse. I do have to agree with some critics saying the real star of this movie is Baker and the make up crew.
For a horror movie, the acting is not bad. I do have to use that qualifier because the acting is not amazing by any stretch of the imagination, but compared to many other entries of macabre cinema the acting is pretty good. Naughton plays the eponymous American Werewolf with a like ability that I believe is mostly natural, and he portrays the confused young man very well, but he's not a great actor. The same can be said of Jenny Agutter, for a horror lead she is actually a strong independent woman who doesn't spend the entire movie squealing, which is refreshing. But the best acting performance is probably John Woodvine as the Dr. J.S. Hirsch, a small role, true, but Woodvine does act better than the rest.
All in all this is a very good movie, not just a good horror movie, but a good movie in general. There are some scares and more than one laugh; So if you are looking for a good way to spend an hour and thirty eight minutes pop in An American Werewolf in London, you won't be disappointed.
Dr. Brooklyn says: LIKE this movie (9/10)
Monday, December 13, 2010
Wednesday, November 24, 2010
Comic Book Wednesday Part 3: The Rest
Take heart, dear reader, there are only two more reviews for you to read, but they are also two of the best comics of the week.
SCALPED #43
Words by: Jason Aaron
Art by: Jason LaTour
It's kind of strange, I've always hated Wooster Karnow, and yet... because Aaron is such a great writer I actually feel a little for him. Not a lot, but enough for me to like a one and done starring the hate able sheriff. I guess like doesn't even cover it, perhaps truly enjoyed would better convey my emotional response to this issue. Although far from the best of Scalped, 43 holds some touching moments and was an interesting change of pace... even though I would have wanted a continuation of Unwanted which had some of the best comics I've read this year. Back to the issue at hand, the affair is genuine Aaron and Karnow is his typical braggart self but when faced with a man who's actually done what he claims to Karnow feels all kinds of inadequacy. My only complaint would be the art, after the tremendous work of Guera, LaTour's work seems to rely too much on imitation. Other than that this issue is another win for Scalped and Jason Aaron.
Dr. Brooklyn says: LIKE this issue (9.5/10)
THE WALKING DEAD #79
Words by: Robert Kirkman
Art by: Charlie Adlard
In terms of The Walking Dead, this was an average issue. In terms of most comics this was a great issue. With roamers surrounding the town and internal struggles, Rick and Company are up the creek with out a paddle with a new arc in the next issue. Adlard continues to give some of the best art in all of comics and Kirkman continues to earn all the praise he gets, but for the final issue of an arc this issue felt a little rushed, I know that 79 is just set up for 80, but still I've come to expect a bit better from Kirkman... even though it's a good issue. Other than the last panel, there seems to be little major build up, yet that final page is so mouth watering that I can't wait for #80.
Dr. Brooklyn says: LIKE this issue (8.75/10)
After more typing than I have typed for any previous CBW I think I'm content to say good night and have a happy thanksgiving.
P.S. Next week (due to the holiday) new comics come out on Thursday so my reviews won't hit until Thursday or Friday... because I know you'll be waiting to read them
SCALPED #43
Words by: Jason Aaron
Art by: Jason LaTour
It's kind of strange, I've always hated Wooster Karnow, and yet... because Aaron is such a great writer I actually feel a little for him. Not a lot, but enough for me to like a one and done starring the hate able sheriff. I guess like doesn't even cover it, perhaps truly enjoyed would better convey my emotional response to this issue. Although far from the best of Scalped, 43 holds some touching moments and was an interesting change of pace... even though I would have wanted a continuation of Unwanted which had some of the best comics I've read this year. Back to the issue at hand, the affair is genuine Aaron and Karnow is his typical braggart self but when faced with a man who's actually done what he claims to Karnow feels all kinds of inadequacy. My only complaint would be the art, after the tremendous work of Guera, LaTour's work seems to rely too much on imitation. Other than that this issue is another win for Scalped and Jason Aaron.
Dr. Brooklyn says: LIKE this issue (9.5/10)
THE WALKING DEAD #79
Words by: Robert Kirkman
Art by: Charlie Adlard
In terms of The Walking Dead, this was an average issue. In terms of most comics this was a great issue. With roamers surrounding the town and internal struggles, Rick and Company are up the creek with out a paddle with a new arc in the next issue. Adlard continues to give some of the best art in all of comics and Kirkman continues to earn all the praise he gets, but for the final issue of an arc this issue felt a little rushed, I know that 79 is just set up for 80, but still I've come to expect a bit better from Kirkman... even though it's a good issue. Other than the last panel, there seems to be little major build up, yet that final page is so mouth watering that I can't wait for #80.
Dr. Brooklyn says: LIKE this issue (8.75/10)
After more typing than I have typed for any previous CBW I think I'm content to say good night and have a happy thanksgiving.
P.S. Next week (due to the holiday) new comics come out on Thursday so my reviews won't hit until Thursday or Friday... because I know you'll be waiting to read them
Comic Book Wednesday Part 2: Marvel
Remember my promise of 10 marvel reviews? Well you should because it was only like 2 minutes ago... but here they are!
CAPTAIN AMERICA #612
Words by: Ed Brubaker
Art by: Butch Guice
The Trial of Captain America is on... well, the pre-trial is on. This issue doesn't really deal with the trial, other than a bunch of set up. Brubaker introduces us to Bucky's Lawyer, and there are a few scenes with her that make up the meat of the issue, but there is also the interesting sub plot of Sin being freed by Master Man with hopes of Reich's and Aryan nations all around. But that's pretty much it, still setting up all the players in the trial, there isn't anything truly ground breaking in this issue. It's good, don't get me wrong, but there's no real substance, it's all just expository scenes and interactions. I also can't help but notice the constant presence of Steve who it seems is making his way firmly back into the Cap main title... I'll let you think of that what you will.
Dr. Brooklyn says: AT LEAST READ this issue (7/10)
DEADPOOL #29
Words by: Dan Way
Art by: Carlo Barberi
Deadpool's main title is really the only one worth a darn at the current time, and this issue reassures it's readers that yes... it is worth a darn. Mixing the hilarious antics of Deadpool with such serious characters as Steve Rogers, Black Widow, and Moon Knight was a genius stroke by Way. In the conclusion to possibly the best arc since Monkey Business (yeah I know there's only been like... 2) Deadpool uses his own brand of "tactical genius" to bring Dr. Bong down, all the way cracking funny jokes and saving the day, truly becoming a hero. Now I'm curious as to where this arc will send the Merc with a Mouth next. Barberi's art continues to be some of my favorite art out there and the writing is returning to some of it's best moments.
Dr. Brooklyn says: LIKE this issue (8.5/10)
DEADPOOL: PULP #3 (of 4)
Words by: Adam Glass and Mike Benson
Art by: Laurence Campbell
I know it's a constant gripe but you'll only have to hear it one more time... this is a great series, but a horrible Deadpool series. I believe given an actual Deadpool 616 title Glass and Benson could knock it out of the park, because they truly have a great grasp on his inner monologue, it's just that they've made the external dialogue of Wade so not Deadpool-y and the rest of the series is so not Deadpool-y that I can't truly love this series as much as I want to. This issue finds Wade flashing back to a war (which war is not specified) at the same time General Stryfe is instituting his master stroke to start WWIII and return America to it's natural state... one of war. The art is superb and the writing is exactly what you'd want in a story like this, except when there are actually any genuine Deadpool moments they seem more out of place than if Batman decided to wear a lime green cowl. I do recommend this series greatly because I like it and I'm positive you will too, but don't go in expecting to get Deadpool squaring off with a hit-man whose a monkey.
Dr. Brooklyn says: LIKE this issue (9/10)
INVINCIBLE IRON MAN #32
Words by: Matt Fraction
Art by: Salvador Larroca
If you've been reading this blog regularly you know I've been losing my faith in Invincible Iron Man. Luckily for the money counters at Marvel Fraction was able to revive my faith in him with a good issue, bringing back what I loved about the earlier issues of this series. Instead of Tony Stark just moaning about the environment and running Oil out of business we get to see Tony being Iron Man and delivering repulsor based whoop-ass to the drones and Detroit Steel. But even cooler than that we get to see Pepper and Rhodey destroying drones too, giving us the first mission for Team: Iron Man. The issue returns to the action aspects of the first arc (The Five Nightmares) and gives both Pepper and Rhodey some development to the side, showing that with a threat like this Tony can't lone wolf it. Larocca's art is some of the best I saw this week and with visuals like this it's easy to forgive sins of the past.
Dr. Brooklyn says: LIKE this issue (9/10)
NAMOR: THE FIRST MUTANT #4
Words by: Stuart Moore
Art by: Andres Guinaldo
What a way to end the first arc of a series! In a final climactic showdown Namor fights his grandfather and leader of the Aqueos Thakorr, while his team is out fighting the rest of the threat in true Return of the Jedi fashion. The art is slightly off, with Guinaldo attempting to recreate Olivetti's art from issue's 1-3. But other than the slight gripe about the art style this was one of my favorite issues this week. As a Namor fan I am really excited to see when Moore takes this series when it leaves the "Curse of the Mutants" banner and begins to deal with some original plot lines. This series should definitely be on your radar, because I have a feeling that it'll keep getting better and better.
Dr. Brooklyn says: LIKE this issue (9/10)
SECRET AVENGERS #7
Words by: Ed Brubaker
Art by: Mike Deodato
Although another exposition heavy issue from Brubaker (see above) SA sets up a lot of plot lines that the first arc indicates will be brought to a glorious conclusion. Shang-Chi's father is proved to be risen, which spells disaster for the rest of the world. And as such the Secret Avengers begin to mobilize with sweet fights (beautifully portrayed by Deodato) and intrigue (beautifully written by Brubaker) all leading up to a big reveal of another member of the Shadow Council, John Steele... the first Super Soldier. In what is quickly becoming one of my favorite series, Brubaker continues to develop the team dynamic of the Avengers and we get not only a cool martial arts story, but a cool military story as well... all added up to an awesome issue of an awesome comic.
Dr. Brooklyn says: LIKE this issue (9/10)
SHADOWLAND: BLOOD ON THE STREETS
Words by: Antony Johnston
Art by: Wellington Alves
I am really sad that Shadowland is ending, but with the continuing amount of good issues coming out as of "3 of 3"s and "4 of 4"s the pain is being comforted. In the stunning conclusion to Blood on the Streets, or the story of Misty Knight, Paladin, Silver Sable, and Shroud hunting down the fake Hand. In one of the best twists of Shadowland yet, revealing that the cops have taken advantage of the Hand's fear tactics to bring "justice" to the criminals that escaped real justice. But, the way Johnston frames how Misty and crew deal out real justice is quite interesting, reminding the readers in the midst of a crossover that is questioning the effectiveness of the police that real justice isn't anybody who kills a criminal. Alves gives gritty visuals and closes off this mini with a vengeance. I can honestly say that after SL:Moon Knight Blood on the Streets was my favorite mini.
SHADOWLAND: POWER MAN
Words by: Fred Van Lente
Art by: Mahmud Asrar & Ray-Anthony Height
Another end to a Shadowland mini... another fantastic end to a Shadowland mini. I may have said some unkind things about SL:PM over the course of the last few months, but this last issue actually begins to redeem the series a little. With the final assault on Shadowland happening Power Man has gone in secretly to rescue his cousin, which results in the Beast of the Hand thinking he could take Power Man... long story short he was wrong. The story ends with Power Man realizing that he can't do it alone and if anyone can teach him things, it's Danny Rand, a.k.a. The Immortal Iron Fist. I also liked the semi Rocky III end, with Power Man and Iron Fist sparring in Rand's dojo. I will admit that I didn't like the series, but I will also admit that this was a great capstone and the best issue of the mini.
Dr. Brooklyn says: LIKE this issue (8.75/10)
ULTIMATE AVENGERS 3 #4 (of 6)
Words by: Mark Millar
Art by: Steve Dillon
I must begin by saying that Blade breaking up a scene from Twilight was probably the best Twilight Parody yet. I have found that when an issue starts that strong it usually declines a little... unless it's written by Mark Millar, and then the only place it can go is up. And it goes up, up, and away. With Captain America breaking free and the Stark brothers unwilling to admit that Cap isn't just infected, but a Vampire, Blade relates the Ultimate history of Vampire hunters and reveals who's in Starks Mark I armor. Speaking of that suit of armor, Nerd Hulk whose now Vampire Nerd Hulk, begins to get a little cocky leading to a show of strength between Anthony and Nerd Hulk... spoiler alert Hulks always win the shows of strength. The writing continues to be top notch stuff with great art from a living legend Mr. Steve Dillon. With a set up of epic proportions coming this series is just outside my Top 5 Comics series, and this issue is my favorite of the week.
Dr. Brooklyn says: LIKE this issue (10/10)
UNCANNY X-FORCE #2
Words by: Rick Remender
Art by: Jerome Opena
So issue one of this series was good... issue 2 was great. Following up with UCF's mission to kill the child Apocalypse, we see Wolverine toughening up his team... except Deadpool. When the team locates the child on the Moon, they set out to find him... only to bump into War, Pestilence, Conquest, and Death... leading to an epic fight in space. But the team is still a little green and they get captured, and Apocalypse will decide how they die. I like how Apocalypse is being portrayed like a cross between Damian and Rosemary's Baby being raised and groomed to bring the end of days. The art by Opena is just what the writing by Remender demands, I am quite impressed by this creative team and am looking forward to more... hopefully a lot more.
Dr. Brooklyn says: LIKE this issue (9/10)
Whew... did you have as much pain in your fingers reading that as I did typing it? No? Oh, well never mind then. But I still have two more to review so stay tuned for "The Rest."
CAPTAIN AMERICA #612
Words by: Ed Brubaker
Art by: Butch Guice
The Trial of Captain America is on... well, the pre-trial is on. This issue doesn't really deal with the trial, other than a bunch of set up. Brubaker introduces us to Bucky's Lawyer, and there are a few scenes with her that make up the meat of the issue, but there is also the interesting sub plot of Sin being freed by Master Man with hopes of Reich's and Aryan nations all around. But that's pretty much it, still setting up all the players in the trial, there isn't anything truly ground breaking in this issue. It's good, don't get me wrong, but there's no real substance, it's all just expository scenes and interactions. I also can't help but notice the constant presence of Steve who it seems is making his way firmly back into the Cap main title... I'll let you think of that what you will.
Dr. Brooklyn says: AT LEAST READ this issue (7/10)
DEADPOOL #29
Words by: Dan Way
Art by: Carlo Barberi
Deadpool's main title is really the only one worth a darn at the current time, and this issue reassures it's readers that yes... it is worth a darn. Mixing the hilarious antics of Deadpool with such serious characters as Steve Rogers, Black Widow, and Moon Knight was a genius stroke by Way. In the conclusion to possibly the best arc since Monkey Business (yeah I know there's only been like... 2) Deadpool uses his own brand of "tactical genius" to bring Dr. Bong down, all the way cracking funny jokes and saving the day, truly becoming a hero. Now I'm curious as to where this arc will send the Merc with a Mouth next. Barberi's art continues to be some of my favorite art out there and the writing is returning to some of it's best moments.
Dr. Brooklyn says: LIKE this issue (8.5/10)
DEADPOOL: PULP #3 (of 4)
Words by: Adam Glass and Mike Benson
Art by: Laurence Campbell
I know it's a constant gripe but you'll only have to hear it one more time... this is a great series, but a horrible Deadpool series. I believe given an actual Deadpool 616 title Glass and Benson could knock it out of the park, because they truly have a great grasp on his inner monologue, it's just that they've made the external dialogue of Wade so not Deadpool-y and the rest of the series is so not Deadpool-y that I can't truly love this series as much as I want to. This issue finds Wade flashing back to a war (which war is not specified) at the same time General Stryfe is instituting his master stroke to start WWIII and return America to it's natural state... one of war. The art is superb and the writing is exactly what you'd want in a story like this, except when there are actually any genuine Deadpool moments they seem more out of place than if Batman decided to wear a lime green cowl. I do recommend this series greatly because I like it and I'm positive you will too, but don't go in expecting to get Deadpool squaring off with a hit-man whose a monkey.
Dr. Brooklyn says: LIKE this issue (9/10)
INVINCIBLE IRON MAN #32
Words by: Matt Fraction
Art by: Salvador Larroca
If you've been reading this blog regularly you know I've been losing my faith in Invincible Iron Man. Luckily for the money counters at Marvel Fraction was able to revive my faith in him with a good issue, bringing back what I loved about the earlier issues of this series. Instead of Tony Stark just moaning about the environment and running Oil out of business we get to see Tony being Iron Man and delivering repulsor based whoop-ass to the drones and Detroit Steel. But even cooler than that we get to see Pepper and Rhodey destroying drones too, giving us the first mission for Team: Iron Man. The issue returns to the action aspects of the first arc (The Five Nightmares) and gives both Pepper and Rhodey some development to the side, showing that with a threat like this Tony can't lone wolf it. Larocca's art is some of the best I saw this week and with visuals like this it's easy to forgive sins of the past.
Dr. Brooklyn says: LIKE this issue (9/10)
NAMOR: THE FIRST MUTANT #4
Words by: Stuart Moore
Art by: Andres Guinaldo
What a way to end the first arc of a series! In a final climactic showdown Namor fights his grandfather and leader of the Aqueos Thakorr, while his team is out fighting the rest of the threat in true Return of the Jedi fashion. The art is slightly off, with Guinaldo attempting to recreate Olivetti's art from issue's 1-3. But other than the slight gripe about the art style this was one of my favorite issues this week. As a Namor fan I am really excited to see when Moore takes this series when it leaves the "Curse of the Mutants" banner and begins to deal with some original plot lines. This series should definitely be on your radar, because I have a feeling that it'll keep getting better and better.
Dr. Brooklyn says: LIKE this issue (9/10)
SECRET AVENGERS #7
Words by: Ed Brubaker
Art by: Mike Deodato
Although another exposition heavy issue from Brubaker (see above) SA sets up a lot of plot lines that the first arc indicates will be brought to a glorious conclusion. Shang-Chi's father is proved to be risen, which spells disaster for the rest of the world. And as such the Secret Avengers begin to mobilize with sweet fights (beautifully portrayed by Deodato) and intrigue (beautifully written by Brubaker) all leading up to a big reveal of another member of the Shadow Council, John Steele... the first Super Soldier. In what is quickly becoming one of my favorite series, Brubaker continues to develop the team dynamic of the Avengers and we get not only a cool martial arts story, but a cool military story as well... all added up to an awesome issue of an awesome comic.
Dr. Brooklyn says: LIKE this issue (9/10)
SHADOWLAND: BLOOD ON THE STREETS
Words by: Antony Johnston
Art by: Wellington Alves
I am really sad that Shadowland is ending, but with the continuing amount of good issues coming out as of "3 of 3"s and "4 of 4"s the pain is being comforted. In the stunning conclusion to Blood on the Streets, or the story of Misty Knight, Paladin, Silver Sable, and Shroud hunting down the fake Hand. In one of the best twists of Shadowland yet, revealing that the cops have taken advantage of the Hand's fear tactics to bring "justice" to the criminals that escaped real justice. But, the way Johnston frames how Misty and crew deal out real justice is quite interesting, reminding the readers in the midst of a crossover that is questioning the effectiveness of the police that real justice isn't anybody who kills a criminal. Alves gives gritty visuals and closes off this mini with a vengeance. I can honestly say that after SL:Moon Knight Blood on the Streets was my favorite mini.
SHADOWLAND: POWER MAN
Words by: Fred Van Lente
Art by: Mahmud Asrar & Ray-Anthony Height
Another end to a Shadowland mini... another fantastic end to a Shadowland mini. I may have said some unkind things about SL:PM over the course of the last few months, but this last issue actually begins to redeem the series a little. With the final assault on Shadowland happening Power Man has gone in secretly to rescue his cousin, which results in the Beast of the Hand thinking he could take Power Man... long story short he was wrong. The story ends with Power Man realizing that he can't do it alone and if anyone can teach him things, it's Danny Rand, a.k.a. The Immortal Iron Fist. I also liked the semi Rocky III end, with Power Man and Iron Fist sparring in Rand's dojo. I will admit that I didn't like the series, but I will also admit that this was a great capstone and the best issue of the mini.
Dr. Brooklyn says: LIKE this issue (8.75/10)
ULTIMATE AVENGERS 3 #4 (of 6)
Words by: Mark Millar
Art by: Steve Dillon
I must begin by saying that Blade breaking up a scene from Twilight was probably the best Twilight Parody yet. I have found that when an issue starts that strong it usually declines a little... unless it's written by Mark Millar, and then the only place it can go is up. And it goes up, up, and away. With Captain America breaking free and the Stark brothers unwilling to admit that Cap isn't just infected, but a Vampire, Blade relates the Ultimate history of Vampire hunters and reveals who's in Starks Mark I armor. Speaking of that suit of armor, Nerd Hulk whose now Vampire Nerd Hulk, begins to get a little cocky leading to a show of strength between Anthony and Nerd Hulk... spoiler alert Hulks always win the shows of strength. The writing continues to be top notch stuff with great art from a living legend Mr. Steve Dillon. With a set up of epic proportions coming this series is just outside my Top 5 Comics series, and this issue is my favorite of the week.
Dr. Brooklyn says: LIKE this issue (10/10)
UNCANNY X-FORCE #2
Words by: Rick Remender
Art by: Jerome Opena
So issue one of this series was good... issue 2 was great. Following up with UCF's mission to kill the child Apocalypse, we see Wolverine toughening up his team... except Deadpool. When the team locates the child on the Moon, they set out to find him... only to bump into War, Pestilence, Conquest, and Death... leading to an epic fight in space. But the team is still a little green and they get captured, and Apocalypse will decide how they die. I like how Apocalypse is being portrayed like a cross between Damian and Rosemary's Baby being raised and groomed to bring the end of days. The art by Opena is just what the writing by Remender demands, I am quite impressed by this creative team and am looking forward to more... hopefully a lot more.
Dr. Brooklyn says: LIKE this issue (9/10)
Whew... did you have as much pain in your fingers reading that as I did typing it? No? Oh, well never mind then. But I still have two more to review so stay tuned for "The Rest."
Comic Book Wednesday Part 1:DC
Yeah, it's that time of the week already... time for some more of my Comic Book Wednesday entries discussing the comic books I bought this Wednesday. To begin with I've decided to go with DC, so... here we go.
BATMAN AND ROBIN #17
Words by: Paul Cornell
Art by: Scott McDaniel
I never thought I'd say it... but I miss Grant Morrison. Although I didn't review any of them I read the first 16 issues of this series over the last few weeks and I fell in love with this series, and then when I found out that Peter Tomasi (Green Lantern Corps) would be taking over I was thrilled, but then I found out Cornell would be doing a three issue interim arc and I thought that it would be alright. Faithful readers... it is not alright. The plot seems alright, a cult that is trying to find the missing piece of their wedding (the bride and groom) and it is revealed that the missing Bride is a woman that has recently been robbed from her grave, and used to date Batman. See? The Plot is kind of creative... but the dialogue is... hideous. I'm relatively new to the works of Cornell, so this might be the norm for him, but it all just seems so weak and disheartening after Morrison's amazing run on the series. The art is kind of average, and as such doesn't really help or hinder Cornell's writing. I don't know how much this arc will set up Tomasi's run so I'm going to check it out just in case, but dear reader if you haven't jumped on yet... wait until issue #20 when Tomasi takes over, jumping in now would be like waiting to dive off a diving board until a person has drifted into the landing zone on an inner tube.
Dr. Brooklyn says: PASS this issue (4/10)
JUSTICE LEAGUE: GENERATION LOST #14
Words by: Judd Winick
Art by: Aaron Lopresti
Let me get this crack out of the way... I think a more appropriate cover would have been this. All kidding aside, the issue isn't a rip off... per say. I mean, yes a hero from the modern times getting sent to a dystopia where giant robots are killing heroes does sound a lot like the Uncanny X-men issues that make up Days of Future Past, but here the future is a different story. Captain Atom (who dueled with Magog in the last issue) finds himself 112 years in the future, teamed up with a grizzled team of Justice League descendants. Together they embarked to shut off an OMAC reactor... they don't and in the fight they realize that Captain Atom must come back tot he modern time and stop Max Lord from killing Wonder Woman which kicks off the war that lead to the dystopia that the heroes are in. Although not the best issue of JL:GL it's far from the worst, mixing a cool plot line with a cool future JL and bringing the climax that much closer. Winick continues to weave his tale in a splendid fashion, easily making this the best Brightest Day tie-in.
Dr. Brooklyn says: LIKE this issue (8.75/10)
So there's DC, a good and a bad... a little short though. But don't fret, I have 10 issues from marvel coming your way!
BATMAN AND ROBIN #17
Words by: Paul Cornell
Art by: Scott McDaniel
I never thought I'd say it... but I miss Grant Morrison. Although I didn't review any of them I read the first 16 issues of this series over the last few weeks and I fell in love with this series, and then when I found out that Peter Tomasi (Green Lantern Corps) would be taking over I was thrilled, but then I found out Cornell would be doing a three issue interim arc and I thought that it would be alright. Faithful readers... it is not alright. The plot seems alright, a cult that is trying to find the missing piece of their wedding (the bride and groom) and it is revealed that the missing Bride is a woman that has recently been robbed from her grave, and used to date Batman. See? The Plot is kind of creative... but the dialogue is... hideous. I'm relatively new to the works of Cornell, so this might be the norm for him, but it all just seems so weak and disheartening after Morrison's amazing run on the series. The art is kind of average, and as such doesn't really help or hinder Cornell's writing. I don't know how much this arc will set up Tomasi's run so I'm going to check it out just in case, but dear reader if you haven't jumped on yet... wait until issue #20 when Tomasi takes over, jumping in now would be like waiting to dive off a diving board until a person has drifted into the landing zone on an inner tube.
Dr. Brooklyn says: PASS this issue (4/10)
JUSTICE LEAGUE: GENERATION LOST #14
Words by: Judd Winick
Art by: Aaron Lopresti
Let me get this crack out of the way... I think a more appropriate cover would have been this. All kidding aside, the issue isn't a rip off... per say. I mean, yes a hero from the modern times getting sent to a dystopia where giant robots are killing heroes does sound a lot like the Uncanny X-men issues that make up Days of Future Past, but here the future is a different story. Captain Atom (who dueled with Magog in the last issue) finds himself 112 years in the future, teamed up with a grizzled team of Justice League descendants. Together they embarked to shut off an OMAC reactor... they don't and in the fight they realize that Captain Atom must come back tot he modern time and stop Max Lord from killing Wonder Woman which kicks off the war that lead to the dystopia that the heroes are in. Although not the best issue of JL:GL it's far from the worst, mixing a cool plot line with a cool future JL and bringing the climax that much closer. Winick continues to weave his tale in a splendid fashion, easily making this the best Brightest Day tie-in.
Dr. Brooklyn says: LIKE this issue (8.75/10)
So there's DC, a good and a bad... a little short though. But don't fret, I have 10 issues from marvel coming your way!
Monday, November 22, 2010
The Public Review
Alright, I'll admit the title is a stretch (I'll also admit they all are), so to make it a little more understandable I'll inform you what movie I'm reviewing now, the Gangster cinema classic The Public Enemy (1931) starring king of gangster cinema Jimmy Cagney. Completing a gangster double feature for me, as seen by my earlier review of Carlito's Way (1993).
Released four months after Little Caesar (1930), The Public Enemy is credited with many things... but the most influential thing the movie did was to solidify the gangster movie as a profitable genre (spanning nearly the entire run of talkies) but probably more importantly is that the movie gave cinema a young actor names James Cagney, a vaudevillian turned film actor.
Following Little Caesar was a big deal, considering it was one of the truly great crime movies, and as such this movie had some not so little shoes to fill. And, instead of trying to replicate the exact same hood turned boss, this movie creates a different kind of gangster in Tom Powers (Cagney): The Gangster from infancy. Beginning in 1909, the film viewer is introduced to Tom Powers as a little boy, pulling all sorts of shenanigans that aren't to foreign from the opening scenes of Manhattan Melodrama (1934) in which young Blackie is shown to be a criminal from birth.
From there the movie becomes a pretty typical rags to riches to morgue gangster story, with the inevitable end for the central gangster being a maelstrom of lead and blood, but considering that Little Caesar was the only real one to come first, it was pretty original and must be viewed in that context. That being said, the movie is a very good example of the Rags to Riches to Morgue movies, and perhaps among the best I've seen in the sub-genre.
One of the main sources of this movies greatest comes from the daring script. In the pre-code world of cinema the only thing holding back film makers was their own conscience, but Warner Bros. decided to make a movie with tough guys being tough, no holding back (well, swearing was still taboo). The entire plot is risky, tackling Prohibition and it's problems during the whole fiasco, but when you add all sorts of scenes such as real live gangsters being portrayed (although taken out in the 1949 post-code release), and a new use for grapefruit (although improvised) the sum is a tough look at crime that would set the standard for decades to come.
But, the main source is the Man himself... Jimmy Cagney. It's not hard to imagine why this movie made him a star, especially when he edged out the man originally play Powers. Frankly, it's hard to imagine anyone else in the role. Cagney is cocky, tough, jovial, and formidable making the perfect cocktail of the archetypal screen hoodlum. The rest of the cast serves as mere props to Cagney's Powers who stands head and shoulders (oh the irony) above the rest of the cast when it comes to acting. They are all good, don't get me wrong, but when matched with a truly great performance, good looks average.
In terms of classic gangster fare this movie ranks amongst Little Caesar (1931), and White Heat (1941) standing out to this day as truly great works of cinema. If you consider yourself a fan of crime fare, this is most definitely a don't miss movie.
Dr. Brooklyn says: LIKE this movie (9.25/10)
Released four months after Little Caesar (1930), The Public Enemy is credited with many things... but the most influential thing the movie did was to solidify the gangster movie as a profitable genre (spanning nearly the entire run of talkies) but probably more importantly is that the movie gave cinema a young actor names James Cagney, a vaudevillian turned film actor.
Following Little Caesar was a big deal, considering it was one of the truly great crime movies, and as such this movie had some not so little shoes to fill. And, instead of trying to replicate the exact same hood turned boss, this movie creates a different kind of gangster in Tom Powers (Cagney): The Gangster from infancy. Beginning in 1909, the film viewer is introduced to Tom Powers as a little boy, pulling all sorts of shenanigans that aren't to foreign from the opening scenes of Manhattan Melodrama (1934) in which young Blackie is shown to be a criminal from birth.
From there the movie becomes a pretty typical rags to riches to morgue gangster story, with the inevitable end for the central gangster being a maelstrom of lead and blood, but considering that Little Caesar was the only real one to come first, it was pretty original and must be viewed in that context. That being said, the movie is a very good example of the Rags to Riches to Morgue movies, and perhaps among the best I've seen in the sub-genre.
One of the main sources of this movies greatest comes from the daring script. In the pre-code world of cinema the only thing holding back film makers was their own conscience, but Warner Bros. decided to make a movie with tough guys being tough, no holding back (well, swearing was still taboo). The entire plot is risky, tackling Prohibition and it's problems during the whole fiasco, but when you add all sorts of scenes such as real live gangsters being portrayed (although taken out in the 1949 post-code release), and a new use for grapefruit (although improvised) the sum is a tough look at crime that would set the standard for decades to come.
But, the main source is the Man himself... Jimmy Cagney. It's not hard to imagine why this movie made him a star, especially when he edged out the man originally play Powers. Frankly, it's hard to imagine anyone else in the role. Cagney is cocky, tough, jovial, and formidable making the perfect cocktail of the archetypal screen hoodlum. The rest of the cast serves as mere props to Cagney's Powers who stands head and shoulders (oh the irony) above the rest of the cast when it comes to acting. They are all good, don't get me wrong, but when matched with a truly great performance, good looks average.
In terms of classic gangster fare this movie ranks amongst Little Caesar (1931), and White Heat (1941) standing out to this day as truly great works of cinema. If you consider yourself a fan of crime fare, this is most definitely a don't miss movie.
Dr. Brooklyn says: LIKE this movie (9.25/10)
Carlito's Review
From the violent beginning, to Carlito's speech patterns, right down to the director this movie seems like its trying to be a follow up to the 1983 classic Scarface, which is not necessarily a bad thing. The only possibility of that attempt at becoming a bad thing is that Scarface is one of the greatest crime movies ever made, with classic lines, an iconic poster, and possibly the most bad ass ending of any movie ever... so any attempt at, even a solely thematic one, continuing that movie sounds doomed to fail.
But I won't spoil the fun and tell you here if it was a failure or a success.
Carlito's Way (1993), despite my intro paragraph, is a very different movie (plot wise, at least) from Scarface. Where as the latter is all about the rise of an immigrant from low level hood to kingpin of the Miami drug trade, Carlito's Way is more of a post-rise movie. Admittedly, this is a very interesting take on the genre. Consider, if you will, most of the great gangster movies. Little Ceaser... a hood rises to rule, then falls. Goodfellas... a hood rises to power, then falls. Scarface, a hood rises to rule, then falls. State Property... I did say great didn't I? never mind State Property then... I believe you get the picture now. But this movie is a man who has already fallen, being released from Priosn, Carlito is no longer the drug Kingpin he used to be, but nobody in cinema has ever been able to walk away from the former lifestyle of violence, just ask William Munny.
The cinematography is gorgeous in an almost ironic way. The back ground scenery is shot with a way to show the grimy under belly of society that is being portrayed by the characters in the shots. Furthermore, Stephen H. Burum and Brian de Palma shoot the movie as if following a page from the Sergio Leone guide to Westerns, intense close ups, graphic deaths the film is made that much more of a gripping experience.
The voice overs are interesting, and they do move the story along well... but I feel like the script lacks the punch of Stone's Scarface script or Pileggi and Scorcese's Goodfellas script. Although trying to tell the story of a man seeking redemption, not fame and wealth, there was a certain level of hardened dialogue missing. And when the hardened dialogue was used, it seemed almost forced (e.g. John Leguizamo's first appearance at the club). Although, that doesn't really bog down the movie. There is a lot of great dialogue and exchanges, like when Carlito reunites with Gail, and those scenes really elevate the movie above the average crime fare, but the aforementioned script troubles mixed with some of the key problems keep the movie out of the truly great category.
Al Pacino turns in another great performance, although there seems to be too much Montana seeping into Carlito. Although the character does stand alone, it seems like Pacino slipped into the comfort zone of Latin American born gangster created by the most iconic of the bunch. Furthermore, Sean Penn is (don't stone me) average. He's definitely not bad here, but there's nothing that he does that is really all that inventive/creative/breath taking. There's also Guzman, who is alright in these bit parts (think Boogie Nights) but again not great. Although only briefly in the movie John Leguizamo's Benny Blanco is actually a pretty good performance, but it keeps par for the course, making my biggest complaint the lack of great acting, not just really good acting.
In terms of cinematic experience, Carlito's Way is a very good way to spend 2 hours and 25 minutes, but if you are searching for a truly moving and hard edged gangster film instead pick up Goodfellas, Scarface, or any number of films that do a similar kind of movie, but better.
Dr. Brooklyn says: LIKE this movie (8.75/10)
But I won't spoil the fun and tell you here if it was a failure or a success.
Carlito's Way (1993), despite my intro paragraph, is a very different movie (plot wise, at least) from Scarface. Where as the latter is all about the rise of an immigrant from low level hood to kingpin of the Miami drug trade, Carlito's Way is more of a post-rise movie. Admittedly, this is a very interesting take on the genre. Consider, if you will, most of the great gangster movies. Little Ceaser... a hood rises to rule, then falls. Goodfellas... a hood rises to power, then falls. Scarface, a hood rises to rule, then falls. State Property... I did say great didn't I? never mind State Property then... I believe you get the picture now. But this movie is a man who has already fallen, being released from Priosn, Carlito is no longer the drug Kingpin he used to be, but nobody in cinema has ever been able to walk away from the former lifestyle of violence, just ask William Munny.
The cinematography is gorgeous in an almost ironic way. The back ground scenery is shot with a way to show the grimy under belly of society that is being portrayed by the characters in the shots. Furthermore, Stephen H. Burum and Brian de Palma shoot the movie as if following a page from the Sergio Leone guide to Westerns, intense close ups, graphic deaths the film is made that much more of a gripping experience.
The voice overs are interesting, and they do move the story along well... but I feel like the script lacks the punch of Stone's Scarface script or Pileggi and Scorcese's Goodfellas script. Although trying to tell the story of a man seeking redemption, not fame and wealth, there was a certain level of hardened dialogue missing. And when the hardened dialogue was used, it seemed almost forced (e.g. John Leguizamo's first appearance at the club). Although, that doesn't really bog down the movie. There is a lot of great dialogue and exchanges, like when Carlito reunites with Gail, and those scenes really elevate the movie above the average crime fare, but the aforementioned script troubles mixed with some of the key problems keep the movie out of the truly great category.
Al Pacino turns in another great performance, although there seems to be too much Montana seeping into Carlito. Although the character does stand alone, it seems like Pacino slipped into the comfort zone of Latin American born gangster created by the most iconic of the bunch. Furthermore, Sean Penn is (don't stone me) average. He's definitely not bad here, but there's nothing that he does that is really all that inventive/creative/breath taking. There's also Guzman, who is alright in these bit parts (think Boogie Nights) but again not great. Although only briefly in the movie John Leguizamo's Benny Blanco is actually a pretty good performance, but it keeps par for the course, making my biggest complaint the lack of great acting, not just really good acting.
In terms of cinematic experience, Carlito's Way is a very good way to spend 2 hours and 25 minutes, but if you are searching for a truly moving and hard edged gangster film instead pick up Goodfellas, Scarface, or any number of films that do a similar kind of movie, but better.
Dr. Brooklyn says: LIKE this movie (8.75/10)
Thursday, November 18, 2010
Comic Book Wednesday Part 3: The Rest
So here;s the third and final section of this week's CBW triumvirate... loosely title The Rest.
The Astounding Wolf-Man #25
Words by Robert Kirkman
Art by: Jason Howard
Because #24 came out before this blog started you have never heard my love of this series, and as such you don't know how sad this final issue made me. I have a few problems with this issue, the first one being how Zechariah (the primary antagonist for most the series) gets taken out in a fistful of seconds. I know the issue was supposed to be about the Elder and Gary Hampton (the eponymous Wolf-Man) and their duel, but Zechariah deserved better... at least death by Gary in payback for Rebecca (Gary's wife). My second problem is the ending... or lack there of. This issue was supposed to be the final issue of the series, and it is... but with the first ending in which Dracula is shown rejoicing the demise of the Elder and Zechariah and talking about his grand plan... we're left craving more, at least the other ending has been told when we'll get more, Kirkman outlines in Fang-Mail that GTG #3 will include the Wolf Corps. But beyond those gripes, I think this was a fitting end, with all the other loose ends being wrapped up quite nicely. I want to take this chance to thank Robert Kirkman and Jason Howard for giving us this great series (even though I know they've never heard of this blog).
Dr. Brooklyn says: LIKE this issue (9.5/10) Also... definitely go get the first three tpbs and pick up vol. 4 when it drops in a week or so.
THE BOYS: HIGHLAND LADDIE #4 (of 6)
Words by: Garth Ennis
Art by: Jphn Mcrea
For those keeping score my problem with HL has been the ubiquity of Scottish slang that is unknown to people who don't live in that area... luckily this issue has little to none of that. Instead we get the back story of Annie "The Lamplighter" January, also known as Wee' Hughie's former dame. The issue isn't nearly as good as #47 in which the two broke up, but there is needed back story and some touching dialogue showing once again why Ennis is one of the best at what he does... but what he does isn't very nice. I'll say this now, I greatly prefer Robertson's work to Mcrea's but he's not bad. Furthermore, I liked seeing Hughie returning to his innocence, something I felt like the last few issues of The Boys have been stripping him of. Although not amongst the best issues, HL #4 is very good and definitely the best of the HL spin off.
Dr. Brooklyn says: LIKE this issue (9.5/10)
MORNINGGLORIES #4
Words by: Nick Spencer
Art by: Joe Eisma
In what is quickly becoming one of my favorite series the first arc begins to come to it's climax, as the Glories continue their rescue plan. The only problem I have with this series is that it's all quite predictable. Who's the snake in the grass? Oh yes, the sleazy jerk of the group. The Sweet and Like able nerd is the one that the strong and independent leader of the group is attracted to? Go on! Spencer is a good dialogue writer, and the plot is pretty inventive, but I can't get over how the twists and such are even more straightforward than most of the average plot. The Characters are all well developed, so I'll give him credit for that... but I think Spencer needs to watch a few Hitchcock movies and learn a little subtlety. That being said this series is amazing, matching beautiful art with cool story and great dialogue. It's just not as twisty as I think Spencer wants it to be.
Dr. Brooklyn says: LIKE this issue (8.75/10)
SUPERIOR #2
Words by: Mark Millar
Art by: Leinil Yu
Continuing a series that is kind of like Big meets Shazam! Mark Millar is crafting what might be one of his best stories yet. Yeah, I said it. The story has something most of is tales don't, heart... lots and lots of heart. Yu's art is gorgeous, don't get me wrong, but the story here is incredible... you could almost say Superior. The story starts with Chris and Simon figuring out what all Simon can do now, and that's all fine and dandy, but there's so much more including a very touching segment in which Simon reveals what the best part of super powers is. And as simple as the story starts is as how intense it ends, yeah they space station is crashing towards earth. Although it might not be as good as Kick-Ass or Nemesis, Superior has the potential to be one of the best stories of the year.
Dr. Brooklyn says: LIKE this issue (10/10)
And that's what I have for this weeks, CBW. I'll see ya'll down the trail.
The Astounding Wolf-Man #25
Words by Robert Kirkman
Art by: Jason Howard
Because #24 came out before this blog started you have never heard my love of this series, and as such you don't know how sad this final issue made me. I have a few problems with this issue, the first one being how Zechariah (the primary antagonist for most the series) gets taken out in a fistful of seconds. I know the issue was supposed to be about the Elder and Gary Hampton (the eponymous Wolf-Man) and their duel, but Zechariah deserved better... at least death by Gary in payback for Rebecca (Gary's wife). My second problem is the ending... or lack there of. This issue was supposed to be the final issue of the series, and it is... but with the first ending in which Dracula is shown rejoicing the demise of the Elder and Zechariah and talking about his grand plan... we're left craving more, at least the other ending has been told when we'll get more, Kirkman outlines in Fang-Mail that GTG #3 will include the Wolf Corps. But beyond those gripes, I think this was a fitting end, with all the other loose ends being wrapped up quite nicely. I want to take this chance to thank Robert Kirkman and Jason Howard for giving us this great series (even though I know they've never heard of this blog).
Dr. Brooklyn says: LIKE this issue (9.5/10) Also... definitely go get the first three tpbs and pick up vol. 4 when it drops in a week or so.
THE BOYS: HIGHLAND LADDIE #4 (of 6)
Words by: Garth Ennis
Art by: Jphn Mcrea
For those keeping score my problem with HL has been the ubiquity of Scottish slang that is unknown to people who don't live in that area... luckily this issue has little to none of that. Instead we get the back story of Annie "The Lamplighter" January, also known as Wee' Hughie's former dame. The issue isn't nearly as good as #47 in which the two broke up, but there is needed back story and some touching dialogue showing once again why Ennis is one of the best at what he does... but what he does isn't very nice. I'll say this now, I greatly prefer Robertson's work to Mcrea's but he's not bad. Furthermore, I liked seeing Hughie returning to his innocence, something I felt like the last few issues of The Boys have been stripping him of. Although not amongst the best issues, HL #4 is very good and definitely the best of the HL spin off.
Dr. Brooklyn says: LIKE this issue (9.5/10)
MORNINGGLORIES #4
Words by: Nick Spencer
Art by: Joe Eisma
In what is quickly becoming one of my favorite series the first arc begins to come to it's climax, as the Glories continue their rescue plan. The only problem I have with this series is that it's all quite predictable. Who's the snake in the grass? Oh yes, the sleazy jerk of the group. The Sweet and Like able nerd is the one that the strong and independent leader of the group is attracted to? Go on! Spencer is a good dialogue writer, and the plot is pretty inventive, but I can't get over how the twists and such are even more straightforward than most of the average plot. The Characters are all well developed, so I'll give him credit for that... but I think Spencer needs to watch a few Hitchcock movies and learn a little subtlety. That being said this series is amazing, matching beautiful art with cool story and great dialogue. It's just not as twisty as I think Spencer wants it to be.
Dr. Brooklyn says: LIKE this issue (8.75/10)
SUPERIOR #2
Words by: Mark Millar
Art by: Leinil Yu
Continuing a series that is kind of like Big meets Shazam! Mark Millar is crafting what might be one of his best stories yet. Yeah, I said it. The story has something most of is tales don't, heart... lots and lots of heart. Yu's art is gorgeous, don't get me wrong, but the story here is incredible... you could almost say Superior. The story starts with Chris and Simon figuring out what all Simon can do now, and that's all fine and dandy, but there's so much more including a very touching segment in which Simon reveals what the best part of super powers is. And as simple as the story starts is as how intense it ends, yeah they space station is crashing towards earth. Although it might not be as good as Kick-Ass or Nemesis, Superior has the potential to be one of the best stories of the year.
Dr. Brooklyn says: LIKE this issue (10/10)
And that's what I have for this weeks, CBW. I'll see ya'll down the trail.
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