Tron: Legacy: A Review

It's been a while since I reviewed the original, but here I am reviewing the sequel... and I must say I'm feeling pretty good. Tron: Legacy (2010) is very much a sequel, with more references to the former than Empire, but in many ways Legacy stands on its own in a way few sequels do. As a heads up most of the plot will be ignored due to the fact that there are several twists and turns, a lot of ins, a lot of outs, a lot of what have you.

To begin with: Yes, the movie is pretty. I won't spend a lot of time on this seeing as how anyone who has viewed a single trailer knows that this movie is a stunning piece of CGI. The world of Tron came to life in ways that the creators of the original probably only dreamed of, with bright lights and vivid imagery, allowing the Grid to become a world of it's own, not a sound stage with a lot of neon tubing.

Also a thing of beauty is the Daft Punk Score, as a newbie to Daft Punk I was really impressed with how they were able to mix the sound of classic video game music with new style to make probably the best soundtrack I've heard in years, frankly if Daft Punk doesn't win the Oscar, or at least gets nominated, then there is something wrong with the Oscars... well... that's a rant for another day.

Really, my only problem with this movie comes in with the Script, although when compared with the first they are on par, Legacy does what the first one doesn't... leave frayed ends. The Purge of the ISOs is touched on, but the ISOs themselves are mentioned for just a few scenes. I know Disney was gunning for a sequel to this sequel, but the way the ending doesn't show what Sam has done now that's he's back, or for that matter what happened to Tron after his lights changed back to blue, leaves the viewer with a sense of longing. Furthermore, the whole state of the Grid is in question, now that Flynn and Clu are gone, will there be some rebuilding? Will Sam rebuild The Grid? Who knows? The viewers don't, that's for sure.

Also, there was some dialogue that felt a little weird, falling under the Lucas Rule of "You can write it, but you can't read it." Though, there are few movies without an occasional snag in the script. I do appreciate all the Fan service that was done, I really do, but if you have time to include the Tanks passing in the background, then you should have time to polish the script enough to keep the ends of the strands in Ole Duder's Kevin Flynn's The Grid loose.

The acting is actually a lot better than I thought it would be. But, as could be expected, Bridges stole the show in his double role as both Flynn and Clu. What was probably the best CGI piece was "Young" Flynn, even though there were a few times that the CGI was very obvious. Also strong was Olivia Wilde, who oozed sex appeal, at the same time she seemed innocent and naive. Garrett Hedlund is very good, but he lacks the pure laid back charm of Bridges in the original, and even here.

For a sequel, you won't find much better. Plot snags aside Tron: Legacy is a very fun ride and well worth a trip to the cinema for a big screen viewing. For fans of the first... it's definitely been worth the wait.

Dr. Brooklyn says: LIKE this movie (8.75/10)




  

Gremlins: A Review

Some movies stand the test of time not because of amazing stories or outstanding performances, but instead they just touch certain audiences in a certain way. In other words, they're just fun. Such is the case of Gremlins (1984), equal parts comedy and camp, with a delightful infusion of horror and Christmas joy to make a movie that will be remembered for decades because its fun and unique, but nobody will accuse it of being one of the greatest movies ever made.

In some ways the movie plays like a modern version of 'The Trouble with Tribbles' one of the truly classic Original Star Trek episodes, but other than the annoying, rapidly spawning creatures the similarities end there. Gremlins starts out very innocent, with a like able kid, matched with geeky yet like able parents, and a cranky old lady causing trouble in his life. In a lot of ways the characters work because they are very conventional, many are straight out of the standard 80s mold (think The Goonies). The redeeming element to this is that all the characters are very enjoyable, because viewers have seen them before.

As I briefly touched on earlier, the script, by later Harry Potter helmer Chris Columbus, mixes comedy with horror to produce a very different Christmas movie. I was kind of impressed with how interesting a movie about little monsters could be. There's the main story involving the aforementioned monsters, there's also a romantic side plot for Billy (Zach Galligan). Again, these subplots are very cliche for a movie that came out during the 1980s, but the point is that they work.

In what was probably my favorite inclusion of the movie was the constant shots of old movies, many of which set the stage for the events of the movie. Particularly The Invasion of the Body Snatchers (1956) before the Mogwai began to break out of their own pods, it was little touches like this that allowed sci-fi genre fans an added level of enjoyment.

From the future looking back, the effects are quite lame, the creatures eyes often don't sync up and motion is very rigid and unnatural, something that today would be done easily with CGI. That being said, for the time the effects would have been cutting edge and probably would have left a young viewer or two with bad dreams for a while after seeing this movie.

Also, the human performances all fall into the "1980s camp" pile, due to shoddy acting made alright simply because the movie is shoddy itself therefore the average performance play along with the whole campy vibe, instead of seeming out of place. There are no great performances, but there's nothing on a Wiseau level, either.

As a piece of high quality cinema, Gremlins is a bit of a failure. The story is bizarre, matched with decent acting and sub par effects there's not a lot of substance. But taken as a piece of entertainment... there is a lot going for Gremlins. There are laughs, good characters, and even a bit of romance, all added up to make a very fun movie, even if it's not a Citizen Kane or a Casablanca.

Dr. Brooklyn says: LIKE this movie (8/10)

I Review You, Man

Over the last few years the slacker set has invaded motion pictures and established a base camp in the romantic comedy genre. Some of the movies have turned into modern classics, with an endless stream of quoting and tie in merchandise for teenagers to wear. One of these movies was the 2009 movie I Love You, Man starring Paul Rudd (Knocked Up) and Jason Segel (Forgetting Sarah Marshall). In effect the movie is part of the current "slacker/striver" strain of the romantic comedy virus, but as it describes itself, it's a "bromantic comedy."

Pete (Rudd) seemingly has no friends, except his girlfriend and most of his female coworkers. With an impending wedding, Pete has a problem: He has no Best Man. As such, he decides to set out to find a best friend: involving a few gay men that think effeminate Pete is also gay, all leading to the meet cute with Sydney (Segel). The two instantly become friends and in true rom-com style spend all their free time together... falling deeper and deeper in bro-love.

As a romantic comedy there are many of the same pitfalls that plagues most movies in the genre, mainly being: Love and friendship like this is not instantaneous. Also, there's a love building montage set to "Tom Sawyer," and worst of all... two dimensional characters.

Jon Favreau is the worst offender here; as shown in movies like Swingers (1996), Favreau can do comedy, but here he is so abrasive there is little to no comedy... just... Favreau being an asshole. Rudd's character is just a loser, I'm sorry, but he is. For character's like Rudd's to work, they have to be more than just sad sacks. Tragically unhip, Pete is just a loser pretending to be cool... but the writers gave him so little real development he remains a loser acting cool. Then there's the opposite end of the spectrum in Sydney, a guy who is so hipster cool that he wears Ugg boots ironically, has a hybrid dog, and plays Rush songs. Again, there is so little characterization that Sydney is essentially what a 10 year old dreams they'll be like when they are nearing 30.

Bringing me to my biggest complaint with the movie: the script. I have seen just about the whole cast in other movies, even the back ground fillers pop up in most of the "edgy" comedy shows and movies. So I know they can do comedy and are all decent actors, leading the weakness of the movie to be shared between the script writers and the director, the latter being one of the former. There are some funny parts, but most of the movie isn't funny on it's own, laughs are only elicited because of Segel's over acting, the only redeeming part of this movie. The jokes are usually strung out longer than they should be, making them less funny than they were.

I heard this movie get hyped beyond belief, and I was a little let down. Segel and Rudd have both been in much better movies, so if you want a does of Segel or Rudd (or Segel and Rudd in some cases) check out most of the Apatow family tree. Though if you're looking for a few immature laughs and hip references check this out, but if you want a good comedy... don't.

Dr. Brooklyn says: PASS this movie (6/10)



 

Reviewer No. 1

During my recent hiatus I was still watching movies, one of them being the ground breaking and controversial A Clockwork Orange (1971) which starred Malcolm McDowell. After liking him in Time after Time (1978) and A Clockwork Orange, seeing his name on the cover was enough to convince me to watch the movie Gangster No. 1 (2000).

To be frank I have been let down by several of the  British crime flicks I've seen... mainly those directed by Guy Ritchie, because many times the movies rely too heavily on conventions and American precedent, but Gangster No. 1 is surprisingly original. To begin with, the movie is stylized beyond belief, shots are broken up in a nod to old pop art movies, with fourth wall breaks and a bi-linear plot of The Gangster (McDowell and Paul Bettany) in the modern times and as a young man, facing his own fall and rising respectively. Although released in 2000, the movie oozes 1960s cool, mainly because that's when the Gangster begins to make his climb to the top.

In that regard it seems like most Rise of the Gangster movies (see Scarface, Carlito's Way, State Property, The Public Enemy, GoodFellas, etc), and in many ways it is conventional: young Gangster learns from Boss, only to later usurp Boss resulting in animosity and blood shedding, but because of all the style and the variables thrown into the formula is enough to make Gangster No. 1 different and exciting.

Although it's not his first movie, this is the first Paul McGuigan movie I've seen, and I was pleasantly pleased by his eye for style. I know I have been saying the word "style" a lot, but that's only because this movie had more in the opening minutes than Snatch had in it's entire run time. McGuigan captures the brutality of the Gangster and the world around him in a way that is visually pleasing and impressive for a man on his second film.

Furthermore, McGuigan was working from a great script by Johnny Ferguson. My main problem with the films of Ritchie is that he is a so-so screen writer who tries to be edgy and funny, but fails. Ferguson on the other hand gives a subtle wit to a very violent movie, kind of like a lesser Tarantino.

The acting is all amazing, McDowell is grand, playing the character (in his own words) as an older Alex Destrange. As such the character has a roguish charm to him, despite not getting a lot of screen time until Act III. The way The Gangster narrates Act I and II though do establish him as a very strong character, despite McDowell's face being absent for much of the early stages of the film.

That being said the man playing the Gangster during Acts I and II really owns this movie; and that man is Paul Bettany. Many Americans will know him as the hype man Geoffery Chaucer in A Knight's Tale (2003), but his role here is so far removed from that film that it;s hard to imagine that same jovial man is this violent psychopath who rises to the top... of a heap of corpses. The sheer ice of The Gangster's soul shows every time Bettany opens his eyes, cold and unforgiving.

To be honest this is a very good movie: great acting, a great script, great direction, amazing style and a very cool plot roller coaster. Although it won't be on any of my crime top 5s it's a very thrilling movie and worth a watch if you haven't seen it.

Dr. Brooklyn says: LIKE this movie (9.25/10)

An American Reviewer in London

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)

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

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."
 

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!

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)

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)

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.

Comic Book Wednesday Part 2: Marvel

With the fat DC week it means there had to be a lean Marvel week (but my The Rest is comparable to DC). Anyways, here's the only Marvel book I bought this week.

DAKEN: DARK WOLVERINE #3
Words by: Dan Way and Marjorie Liu
Art by: Giuseppe Camuncoli

It's weird seeing Mystique actually care about someone. It's also weird to know Daken cares about someone. But over all the issue isn't weird... it's good. The restaurant from #2 has turned into a crime scene with Logan raising hell in all kinds of ways. Mystique escapes, saddened by Daken's death... or should I say, his fake death. There is a body burnt up inside the restaurant, that is taken away, but Daken watches from a nearby building, flashing back to a lesson from Romulus about the benefits of invisibility. Way and Liu deliver a pretty good story and have really made me want to go back and read their previous work on the character. Camuncoli's art is amongst my favorites right now and this series has me hooked for quite some time.

Dr. Brooklyn says: LIKE this issue (9.5/10)

So that's all I've got from the Marvel front... stay tuned for The Rest.

Comic Book Wednesday Part 1:DC

Last week was a lean week, this week was a fatter week (especially in the realm of DC). I never know what to say in these intros, so I say to heck with this and let's get right into the comics.

BATMAN: THE RETURN (1 Shot)
Words by: Grant Morrison
Art by: David Finch

Unless you've been living under a rock you know that Bruce Wayne was officially brought back last week in Return of Bruce Wayne #6 (sure Batman and Robin #16 came out first... but... So to return Bruce to the DCU a one shot was needed, and here it is. Mainly the issue concerns itself with establishing Wayne's intentions for Batman Inc. which I feel is a really dumb idea. But the issue is alright, the art is good, exciting me for Batman: The Dark Knight with Finch's words and art. That being said, if you don't plan on reading at least one of the new post return Batman series than this issue won't have anything for you. In terms of story telling this issue is more akin to the amazing Batman and Robin and not the less than zero Return of Bruce Wayne.

Dr. Brooklyn says: LIKE this issue (8/10)

BRIGHTEST DAY #14
Words by: Geoff Johns and Peter Tomasi
Art by: Ivan Reis

The cover promises White Lantern Batman... but in all honesty we only get WL Batman for about 3 pages, a let down for sure. But the issue also serves as a bit of a let down because now the series, it seems, is getting back to the heroes running around with their hands in the air going "Why were we brought back?" only now the cry will be "Who's the chosen one?" But, I've read worse entries into the Brightest Day series. Some highlights, especially for me, include the final panels with Batman uttering the phrase "We need to talk about Maxwell Lord." Peaking my "Generation Lost" fan boy nature. Also in the final panel (bizarre when the title of the next issue can get one excited) the foreshadowing piece of "Whatever happened to the Manhunter from Mars?" again touching the soul of m being. For a Brightest Day issue it's pretty good, but that's a relative good when most of the Brightest day stuff has gotten negative feedback from this blog.

Dr. Brooklyn says: AT LEAST READ this issue (7.5/10)

THE FLASH #6
Words by: Geoff Johns
Art by: Francis Manapul

If you haven't jumped on this series, wait until #7, seeing as #6 is the end of an arc... a decent end of an arc. The Renegades have gotten a hold of Flash... or so they thought and faster than you can say 'it's just a jump to the left' The scarlet Speedster is back in our time to save Iris and bring The Top to justice. There's a high speed fight where The Top confesses to everything, only to be stopped when the Flash enters him and spins him the other way, stopping him and allowing the Renegades to capture the traitor Phantom Limb The Top and return him to the future for some justice. The issue actually has an interesting commentary on the nature of justice in both the future and our modern time, with an innocent man being cleared. Although the issue's not the best issue I read this week it is very good and Manapul has become one of my favorite current artists.

Dr. Brooklyn says: LIKE this issue (8.5/10)

GREEN LANTERN #59
Words by: Geoff Johns
Art by: Doug Mahnke

This issue is kind of hard to judge, mainly because nothing really happens. Sure there's great dialogue between Allen and Jordan, but it seems weird how it just... happens while Adara is a few feet away. Also of note is a conversation with the Guardians who are plotting to have someone watch Hal because he's trying to avoid detection. I like the way Johns handles the dialogue and the set up of Parallax becoming the fastest man on Earth is pretty enticing, but the subplot of having the Indigo lanterns essentially a mind washed cult seems forced, I think mainly because all the characters are freaking out because Blank Hand is now peaceful and compassionate... the fate they sentenced him to. Why would they complain that he's not a murderous creep obsessed with death anymore? THAT WAS THE POINT OF SENDING HIM OFF WITH THE INDIGO CORPS IN THE FIRST PLACE!! In what's more a set up issue, 59 isn't entirely strong but far from weak.

Dr. Brooklyn says: LIKE this issue (8/10)

GREEN LANTERN CORPS #54
Words by: Tony Bedard
Art by: Tyler Kirkham

In another case of the cover betraying the interior, the readers are expecting an epic duel between Rayner and Sinestro... but what we actually get is Sinestro beating the shit out of Rayner... three times over as many pages. But, the rest of the issue makes up for the apparent lie on the cover. Carrying on from previous issues The Weaponer has Soranik captured, but Sinestro won't pay the piper and go to try and save his daughter. I especially like how The Weaponer is being painted as a tragic character, trying to redeem himself and save his world (I've had little to no introduction to him before now). It's kind of weird, but I actually am looking more forward to the next issue of this than the main Green Lantern series.

Dr. Brooklyn says: LIKE this issue (9/10)

Once Upon a Review in the West

As I'm sure you've figured out , I like Westerns. Although, my dear reader, I don't know if you,  knew that my favorite sub genre of the Western genre is the Spaghetti Western, mainly for the unflinching way that this particular sect of movies handles the true violence and degenerate nature of the real west, with that being said, I felt like a bad fan being that I had not seen one of the true classics of not only the sub genre, or even the genre... but instead cinema itself. Of course I'm talking about Once Upon a Time in the West (1968) directed by a true master Sergio Leone.

There is a lot going on in this movie (think Inglorious Basterds in a Stetson). But the movie can be boiled down to three main plots...
1) Frank (Henry Fonda) being hunted by Harmonica (Charles Bronson)
2) Cheyenne (Jason Robards) being accused of the murder of a child
3) Jill McBain (Claudia Cardinale) trying to hold onto her land, despite Frank wanting it.
With this much going on, I'm afraid, that there was a high potential for cinematic fat. True, Leone has The Dollars trilogy to support that his movies have all the fat content of an apple... but this movie is more along the lines of a burger, delicious... but not entirely healthy. I know I don't have a film degree or any credentials as a critic, but I feel like West has several scenes that border on unneeded, such as the opening scene on the homestead which continues for several minutes where the only important thing to happen is a fly buzzing around. There are other scenes later on that Leone allows the camera to linger too long, resulting in a movie that has some love handles, but is by no means obese.

The movie is classic Leone, the Monument valley filming location reflects the barren wastelands that the characters call souls, mixing arid desert with bleak horizons. As stated in my reviews of various other westerns I prefer the real desert feel to the panoramic vistas. As would be expected Morricone's score is gorgeous with the true highlight being "The Man with a Harmonica," mixing the haunting harmonica of... Harmonica with an anachronistic electric guitar to create one of the greatest "character" scores of all time.

In terms of the four Leone movies I've seen, this one certainly has the best acting with Bronson, Fonda, and Cardinale being specifically strong. I've seen Charles Bronson in a few movies, all tough guys, but Harmonica stands above the rest of his roles, mixing the revenge themes of Death Wish with the intensity of his role in The Magnificent Seven. But, I don't mean to discredit Fonda who plays the first villain I've seen him play. He plays the role of Frank with a level of sleaze I didn't expect him to be capable of, but I was wrong.

The movie is definitely a classic, changing the Western genre, but the movie seems to be too epic in scope for one movie... not really an insult, I know, but a critique all the same. Perhaps this movie could have been improved (only slightly though) by predating Kill Bill in dividing the movie into two volumes, but it didn't, and as such I can't bring myself to give it a perfect score. The movie receives my recommendation, yes, but a 10/10... no.

Dr. Brooklyn says: LIKE this movie (9.75/10)

Review the High Country

If you believe the Leonard Maltin quote on the back of the 2006 DVD Ride the High Country (1962) is "considered by some to be Peckinpah's finest film," and being that this is the man who directed The Wild Bunch (1969) and Straw Dogs (1971) that is a doozy of a claim. I will let you down now, it is not better than the two movies I listed, but being shy of two movies which combine to attain a 20/20 is not an insult by any stretch of the imagination.

Thematically this movie seems more like it should be an adopted child of Peckinpah, surely not his by... blood. (Pun sort of intended). Arguably, that is a true case, being that this movie was not in fact written by Peckinpah as the other movies of his reviewed on this blog have been. Not to try and take away from N.B. Stone, Jr., the writer, but where as TWB and SD circumvent convention and turn stereotypes and formulas on their heads, with TWB changing westerns (and cinema) forever... this movie seems to play more in the conventional sense of both westerns and buddy films. That being said, the movie does succeed in being funnier than the other two combined matching sly zingers with great interactive dialogue the script is stronger than most, but weaker than some.

The storyline is quite straightforward, a few men, trying to make a buck, set out to gold mine to try and bring back some treasure for their employers, inventive yes, but regrettably the men are typical cowboys. Both are aging lawmen with eyes on that final ride into the sunset, but of course there's one more mission they've got to complete before they can meet history on an amber horizon. And as such, one could plug in any cowboy actor of the early sixties (i.e. John Wayne, Gary Cooper, Jimmy Stewart) and the movie would have progressed the same way, not a bad thing, but not a great thing.

Next is the direction, which is another place where I felt let down by the film again. The Wild Bunch is a brutal western, parched Mexican landscapes matched with vicious men made it feel exciting and new, on par with such classics as The Good, The Bad, and The Ugly (1966) when it comes to an unforgiving west, but this movie in everything from the sprawling vistas to the shots of the characters whilst conversing is just so typical of ever other western at the time.

Although I did say they could be filled by most any veteran western actor, Joel McCrea and Randolph Scott are quite good as the two aging gun men, but there's nothing really done here acting wise that hasn't been done with the character type better else where.

Much of this movie boils down to standard western fare, but luckily there are enough inventional plot devices to make this movie more than an AT LEAST WATCH and into the realm of the LIKE.

Dr. Brooklyn says: LIKE this movie (9/10)

Comic Book Wednesday Part 3: The Rest

And last but not least is the Image comic I bought and read this week...

NANCY IN HELL #4 (of 4)
Words by: El Torres
Art by: Malaka Studios, Antonio Vasquez, and Juan Jose Ryp

In what I think might have been the most underrated and missed gem of the year, Nancy Simmons (with a little help from Lucifer) fought her way through and out of Hell. Perhaps it was because I'm lamenting this being the series end, but this issue seemed to be a little bit on the anticlimactic side. Yes the last few pages were a great end and one of the "best" endings in that manner since the original Doom. But, I expected a grander fight at the Gates and a little bit more of a showdown with the beast, but the art remained visceral and the writing maintained it's impact, establishing Nancy Simmons as a truly great heroine. Although not the best of the series, NiH #4 is one of the best issues I read this week and is a fitting cap to the series, even though it's not the best one that could have been.

Dr. Brooklyn says: LIKE this issue (8.75/10)

Comic Book Wednesday Part 2: Marvel

Let the record show that for one of the first times on this blog the DC section is bigger than the Marvel section. But, that doesn't mean Marvel didn't have anything good to offer.

INVADERS NOW! #3 (of 5)
Words by: Christos Gage
Art by: Carlo Reis

If you remember I trashed issue 1 and loved issue 2, and issue 3 falls somewhere in between the two. There's less drama than 2, but more plot than 1, although it just doesn't escape the "good" zone. The Invaders fight the Axis team from the end of last issue, and that is cool, I'm really starting to like Reis's visuals. But Gage is starting to slide closer to the stilted writing that made the dialogue of #1 unbearable. The story remains creative, but poor writing kills creative story lines. I know it seems like I've been bashing this issue quite a bit, but there are some redeeming qualities such as the dramatic final panels where Steve Rogers outlines the Invaders plan and some parts in the middle where Union Jack and Spitfire encounter some troubles, but all in all the the issue is pretty generic and average.

Dr. Brooklyn says: AT LEAST READ this issue (6.75/10)

SHADOWLAND: DAUGHTERS OF THE SHADOW #3 (of 3)
Words by: Jason Henderson
Art by: Ivan Rodreiguez

It makes me sad that Shadowland is ending, with this month being the final nail in the coffin and this series being one of the first tie ins to take the bow before the curtains, but for this tie-in at least, the third act was the weakest. SL:DotS started strong, with plenty of drama that helped develop Shadowland, but this last issue was a little too... small in scope. Instead of the wide spread stories that have made Shadowland good, we are given a story that focuses on two duels between various Daughters of the Nail. There is little to no talk about the events of Shadowland that are coming up, and as such I felt a little cheated by this issue. It's not bad, with the writing and art consistently good, it just wasn't a good tie in.

Dr. Brooklyn says: LIKE this issue (7.5/10)

And there, dear readers, is my Marvel section, with very little to rave about.

Comic Book Wednesday Part 1:DC

Another week, another grouping of comics that I'm going to review, but sadly (like last week) there wasn't a lot on the racks that I was desperately wanting to buy, but these 6 titles did make the cut so here's the first subgroup: DC.

BATMAN: THE RETURN OF BRUCE WAYNE #6 (of 6)
Words by: Grant Morrison
Art by: Lee Garbett

So... Grant Morrison is an enigma. I've been reading through his Batman and Robin series and I've been loving it, his ability to weave characters is amazing, but at the same time... B:TRoBW remains to be the clusterfuck I've accused it of being for the last few issues. In quite possibly the most scattered issue yet, Morrison officially returns Bruce Wayne to the limelight, bringing him out of the time stream and... well... I don't even know what happened. I mean, Batman gets fused with some bizarre robot thing that's apparently sent from Apokolips to kill Batman, yadda, yadda, yadda. There's no period work like the first 5 issues, and there's less plot. Most of the issue is spent flipping around with panels out of order and random voice bubbles to show that the time stream is being tampered with, but that just makes the issue seem like it's just trying to be trippy.

Dr. Brooklyn says: PASS on this issue (4/10)

GREEN LANTERN: EMERALD WARRIORS #4
Words by: Peter J. Tomasi
Art by: Fernando Pasarin

There are two distinct story lines in this issue, but they aren't equally good. The first is the continuing road trip of Guy, Arisia, Kilowog, and (as of last issue) Bleez deep into the unknown sector, and the other is an entirely expository talk of Sodam Yat doing... something. I think it's implied he's going to blow up or just move a planet, but... that's not really fleshed out (hopefully next month). But, back to the first plot line, the Road Warriors stop on Daxam, for a few pages, just to tie their arc in with the new Sodam arc. The issue isn't really great, it's good, but when compared to the last few issues this issue seems more like a typical Green Lantern issue than Emerald Warriors.

Dr. Brooklyn says: LIKE this issue (7.75/10)

JUSTICE LEAGUE: GENERATION LOST #13
Words by: Judd Winick
Art by: Joe Bennett

As the last issue closed readers knew that #13 was going to give readers an epic fight between Magog and Captain Atom, and Winick and Bennett deliver. But, the pacing of this issue was slightly off. The fight was spectacular and the way Booster and Blue Beetle appeared scared, but trying to be heroic was a needed addition to the issue's script that broke up the fight with a human element, though there were too many panels of fighting and not enough of furthering the plot, with this issue JL:GL has crossed the halfway point and as such issues here can't be devoted to full on brawls with only a few panels of Max Lord being a basterd. That having been said, the issue is among the better issues that I read this week, and it does carry on the legacy of this great series.

Dr. Brooklyn says: LIKE this issue (9/10)

And there's the DC part of this weeks Comic Book Wednesday, stay tuned for Marvel and The Rest

Straw Dogs: A Review

There's violent cinema, and then there's a Peckinpah movie. You see, the difference between today's violent cinema and Sam Peckipah is all in the mind, where most violent movies just splatter red dye mixed with corn syrup across everything for two hours, Peckinpah takes a different road... a full frontal assault of your mind, one of his most famous cases of this is the 1969 western classic The Wild Bunch, a movie that took westerns, and all cinema for that matter, to a whole new level. But it wasn't until 2 years later that Peckinpah really upped the anti, taking a step beyond blood squibs on Ernest Brognine's chest to show a rape of a woman, that turns mid way into consensual sex, in one of the most controversial movies of recent decades: Straw Dogs (1971).

The plot starts out in a pretty mundane way, newly wed couple moves to a small town, shenanigans ensue, not sounding like a real groundbreaking movie, does it? WRONG! The way the story unfolds shows a tortured underbelly to small towns not seen in any other movie (well, maybe Hot Fuzz). But as a microcosm of the whole town there is an even more central conflict, that of David and Amy (Susan George). Amy and David clash pretty much from the opening credits. And the camera work reflects that, Peckinpah shoots even the most mundane marital conversations like the filmed the train robbery of The Wild Bunch, quick shots and cuts, wide trailing shots, muted colors, all leading to the growing struggles around David, segueing into the themes of masculinity later covered.

And here I shall run my train of thought down the rails laid down by Joshua Clover in the booklet inside the DVD case I rented, Peckinpah makes his first trip away from westerns, but this movie is really not a western in setting only. The character types are all there David Sumner, Played by the ever great Dustin Hoffman, fulfills the classic western role of new guy forced to the gun. Consider Ransom Stoddard in The Man Who Shot Liberty Valence. A presumably weak man arrives in town in harassed by the local toughs, long story short he turns to a gun and defeats them, after unlocking a previously unseen facet of his personality, in the case of Stoddard it's courage, in the case of Sumner it's rage and brutality. Next is the cause of all woe, as told from the Western genre's perspective: The woman, who entices both sides into violence, culminating in the hero having to rescue her. Then there a the thugs who are desperately clinging to the old violent days before the hero rode to town and "corrupted" it.

But of course Peckinpah can't leave these motifs alone. In his own genius way, Peckinpah twists and corrupts the Western Hero into a bitter man who has hints of pedophilia tendencies, the woman becomes not a dame in distress but a villain in her own right, and the thugs are more brutal than anything Leone or Ford could have dreamed of. And that is where the movie gains it's strength: subliminally telling the audience their heroes are flawed, criticizing and satirizing a different genre with out even uttering the word "Partner."

As I touched on earlier, Hoffman is amazing, blending the personality of Ratso Rizzo with the demeanor of Benjamin Braddock, but worse than either of them. Boiling beneath his sweater is a killer, a subtle comment on the violent nature of man, and Hoffman is able to portray this better than just about anyone.

Also of note is Hoffman's opposite, Susan George. It's not an easy task to go two hours with Hoffman and hold your own. But George, succeeds, providing a balance of equal unlike ability to Hoffman's amoral mathematician. neither character is really like able, but when compared with the rest of the cities rogues gallery Hoffman and George instantly gain like ability points. George is stunning, subtle, passionate, but simple: Truly a great performance.

All in all this is one of the most violent and (dare I say) disturbing movies I've seen. It's not disturbing like the "torture porn" horror genre, but it's believability makes it terrifying. The acting is all top notch, the directing superb, and the script assaults your mind and leaves you hanging like a cat in a closet.

Dr. Brooklyn says: LIKE this movie (10/10)

Bob & Carol & Dr. Brooklyn & Alice

The last few weeks I've been trying to watch generally praised movies, most of them have been serious drama's about man be it failings (Citizen Kane), The strength of the human spirit (Mr. Smith goes to Washington), and the power of memory and the abstract term "The Truth" (Rashomon, not reviewed). So, to change the pace just a tad, I decided to watch a movie also about man, but this time about how they... um... fornicate, hence my film selection for tonight Bob & Carol &Ted & Alice (1969).

Citizen Kane, it's not, but the movie has something that Kane lacked... laughs a whole lot of laughs, admittedly Kane was not about laughs it was about holding a mirror to the life of William Randolph Hearst. Although you might not think of a movie about couples cheating on their respective spouses as humorous. Even by today's the standards the plot is really inventive: Two middle aged couples, one ventures out to a "retreat" and returns... changed. By that I mean sexually free, and what better way to be sexually free than with a couple you know? Bob and Carol (the retreat/returning couple) begin a crusade to get Ted and Alice into the bedroom for shenanigans most foul.

The movie handles the subject matter of affairs and the sexual revolution both maturely and immaturely, the former with the high level of humor and dry wit, and immaturely because... well, they just have free sex. There are moments of drama, and moments of comedy, perfectly blended into a black comedy of tremendous charm and... sex appeal (mainly Natalie Wood).

It's not often I say it in these reviews, but the score is so perfect. Quincy Jones provides a soul tot he movie with his beautifully conducted porn music smooth jazz. It's not a make or break deal, but it does help tremendously to set the mood.

But, all the above is worthless if the four people in the bed had porn quality acting to match the porn quality jazz. Luckily, the movie has three strong performances... for those keeping track at home there are four main characters. Elliot Gould was great: quirky, nerdy, down right like able. He portrays Ted as just the kind of guy you'd want to have a beer with, he'd be fun but he wouldn't be too much, match that with the chemistry between himself and Dyan Cannon (Alice) their relationship isn't perfect like most comedy marriages, but they really try and because they really love each other they are willing to try anything. Also strong is Natalie Wood, who as I mentioned earlier, is damn sexy in this movie. She balances out nerdy couple Ted and Alice perfectly, by playing a character that would fit in perfectly on Wysteria Lane. (DISCLAIMER: I only watched that show the times I did because of Eva Longoria-Parker).

Which brings me to Robert Culp.

I don't know how to say this without sounding like a nit picker... oh why not. Culp is the weak link because of his physical demeanor and mannerisms. Yeah, that's what brings this movie down, stuff Culp had no control over. Now, dear reader, let me explain. The character of Bob is supposed to be cool, he's a film director, rich, married to a hot woman, he does recreational drugs (not advocating but going into the archetype of 'cool' people in cinema...), he's even seen wearing leather jackets and (at the time) hip clothing and speaking in the parlance of the times. That having been said... Robert Culp is not that guy. To describe his square peg in a cool hole: Imagine if Cyclops got some fake claws and tried to convince everyone he was the best at what he does, but what he does isn't very nice. Nobody would fall for it because that's just not who Cyclops is, the same situation plays itself out here, a tragically unhip guy trying to be the coolest guy in the room... he fails.

Other than that, the movie is pretty solid with a nice (used loosely) story, coupled with great acting, cool music, and nice camerawork. Although not the funniest or most touching movie, it's still better than the drivel that gets released nowadays.

Dr. Brooklyn says: LIKE this movie (8.75/10)

Comic Book Wednesday Part 3: The Rest

And last but not least is my "The Rest" section which consists of my second favorite series newest installment.

THE BOYS #47
Words by: Garth Ennis
Art by: Russ Braun

First off let me say that this issue has the best cover of any series for the entire year. The brilliant TDKR parody made me laugh my ass off when I saw that it was coming about a month or two ago and when I actually got it in my hands I beamed from ear to ear. Thankfully the interior is just as good. Coming off of one of the best issues of the series, The Boys couldn't help but take a slight down turn, and it is a down turn, from #46. This issue focuses mainly on two arc: Butcher talking to MM and a new woman learning how to deal with The Seven. There are a few hints as to what Homelander is planning, but still it's a mystery for all involved... except him, of course. Also of note in this issue is the scene with Black Noir and the Noir Plane, shown to be going rogue, Noir kills his instructor and just walks away, which (for some reason or another) upsets The Homelander who quickly goes to follow him, but their meeting is not seen. This arc has the makings of something great, so I say stay tuned.

Dr. Brooklyn says: LIKE this issue (9.5/10)

Comic Book Wednesday Part 2: Marvel

So Marvel didn't provide me with too much more than DC, but thank the comic Gods because both of the Marvel issues were decent to pretty good.

NAMOR: THE FIRST MUTANT #3
Words by: Stuart Moore
Art by Ariel Olivetti w/ Fernando Blanco

To be frank, this was probably the worst of the three issues. I'm not saying it's bad, but relatively it's not great. The art is still strong, but the problem is that the issue starts a little slow, and by that I mean the first few pages are devoted to some back story and exposition that sets up the latter parts of the issue, but it still kind of bogs it down a bit. Overall it's not a bad issue, with some cool action and I'm still digging the Aqueos, but like I said the action is all in the second half and the plot is almost all in the first, pacing slows down this issue, but it's still got a nice jog going.

Dr. Brooklyn says: AT LEAST READ this issue (7/10)

WOLVERINE #3
Words b: Jason Aaron
Art by: Renato Guedes

What could be more bad ass than Wolverine inspiring a rebellion in Hell? Oh yeah, when the Saint of Killers served Satan a lead dinner. Which brings me to my complaint of not just this issue, but of the series thus far. There's really nothing being done here (except Wolverine's body haunting his loved ones) that wasn't done better in The Saint of Killers mini.  Aaron is one of my favorite writers at the moment, and the series is strong, I just can't help but make comparisons and in those match ups this series loses. Don't get me wrong this was a good issue, I particularly enjoyed how the story remained in hell for most the issue giving Wolverine and Old Scratch a few really intense showdowns, including when Logan spat on Satan; I also am impressed by Guedes work, visceral and gritty his art captures hell pretty well I think. So in conclusion, good issue/arc just not the greatest "guy in hell" story.

Dr. Brooklyn says: LIKE this issue (8/10)

And there's what Marvel offered me this week... not a lot, but both were worth the read

Comic Book Wednesday Part 1:DC

So I don't know about y'all, but my Comic Book Wednesday this week was terribly lame. I only got four total titles... well, some back issues were bought as well, but here I am to review the few issues I bought, and I'll start with DC

BRIGHTEST DAY # 13
Words by: Geoff Johns and Peter Tomasi
Art by: Ivan Reis

So... how come when the issue focuses on Hawkman and Hawkgirl they get the whole bloody issue? I mean, Martian Manhunter and Aquaman split most of their issues, but the Hawks get cover to bloody cover... which is horrible reading if you hate the hawk people, and if the story is lame. And that's what we have with this issue, a lame plot involving the Hawks being tortured to open a gate for Hawkgirl's mother to go invade Zammarron. Like I said, the story line is convoluted, and if you don't like the characters (like me) the issue lacks any real punch, especially when you consider that it does absolutely nothing to further the brightest day plot line, something that can be overlooked in tie-ins but not the main series.

Dr. Brooklyn says: PASS on this issue (4/10)

So that's all I read from DC this week, I kind of regret that with how badly BD stunk.

Dr. Brooklyn goes to Washington

I didn't review it, but a few weeks back I watched All The King's Men (1941) in which a humble small town dreamer turns into a backstabbing Politician... a tad redundant, I know. For decades that movie has been seen as the true face of politics, hearkening back to the old quote "Power corrupts and Absolute power corrupts absolutely." But, with the elections of last Tuesday (for any Americans reading this) the American public went out and struck down Republicans and Democrats in a manner showing they are tired of the tried and true descent to corruption usually found in politics, and instead said they want men and women like... Jefferson Smith (Jimmy Stewart) from the movie which will be reviewed here Mr. Smith goes to Washington (1939).

The movie is surprisingly relevant, with the press being called out for half truths, politicians lying and making back room deals, and the Congressmen forgetting that they were elected by the people to serve the people. And with today's political climate, this movie speaks as loudly now as it does then. There's discussion of over-complicated bills, and the people that write them. As an American this movie speaks to me because it both criticizes and reminds me of all our Legislative branch can be.

Warning: The next paragraph has some political opinions in it, which may be offensive to some readers, proceed at your own choice, or jump to the paragraph after ti for a return to straight up reviewing.

Also, at the risk of alienating some readers, this movie seems like it was advocating The Tea Party before the Tea Party was even a fever dream. Stewart's Smith is the quintessential Tea Partier, a patriotic, Jefferson quoting man who truly believes every word of praise he spouts about the glories of the constitution and believes everyone's right to life, liberty, and the pursuit of happiness should be defended.

The Sidney Buchman screenplay is stunning, painting the career politicians as the ruthless men (at the time they were all men) who care more about lining their pockets and getting under the table favors than serving their constituents. But Buchman also shows Smith as a naive man at first, quickly developing into a politician in his own right, but the kind that Americans want: honest hardworking men who think of their people back home before they think of themselves.

Also of note is Jimmy Stewart, the only man I've ever seen in cinema who could play this role. Stewart made a career for playing folksy down to earth guys (See George Bailey, Ransom Stoddard, Tom Jeffords, etc.) but here he takes it to a new level, in probably his best performance that I've seen him give. His ability to play a "Joe Six-Pack" is unparalleled and his ability to make the audience fall for his characters in each movie is unrivaled as well, the man was truly one of, if not the, greatest American actor.

All that being said, I can see how some people wouldn't like this movie, mainly political insiders and pro-big-government people, especially with the way Buchman and Capra present all the senators except Smith. I personally feel that the reasoning would be the fact that the man in the mirror is sometimes the ugliest person you'll ever see.

Perhaps the greatest political movie of all time, with a high running for greatest American film, Mr. Smith goes to Washington is a beautiful movie with a tight script, great acting, and a truly great look at smoke filled back rooms of Washington.

Dr. Brooklyn says: LIKE this movie (10/10)


 

Citizen Kane: A review

Some movies are above the standard label of "movie." Yes, even the truly great works like Casablanca (1942) and The Godfather (1972) are at their hearts merely movie pictures, but they are also so much more. Truly, movies such as these have earned their own spots on Movie Olympus where they will be worshipped by the cult of cinephiles for decades to come. Yet if these movies are Hades and Poseidon, there is still a vacancy for the spot of chief Olympian: Zeus... well, any good film buff can tell you what the Zeus of cinema is: Citizen Kane (1941)

I think that objectively the opening seconds of Citizen Kane (1941) may be the most iconic scene in film history, the extreme close up on Kane's lips, the slow whisper mixed with subtle death rattle and the utterance of the first great movie "twist/mystery": "Rosebud."

From there we get a beautiful news reel that relates some of the big events of Charles Foster Kane's life, and Welles dives head first into the plot... and talk about a plot. The movie is mainly flashbacks with a framing device of a group of journalists trying to uncover the meaning of Kane's dying word.

The script is tight as a snare drum. From the very beginning Rosebud is in our face, but Welles hides it under snow, pressed against a man's chest, etc. And despite moving at a rapid pace, the dialogue is sharper than most motion pictures I've ever taken in, and yet it all seems so... not a movie. As bizarre and abnormal as it sounds this movie seems to transcend it's status to become more than a movie, but a slice of culture itself. I know I'm just gushing right now, worse than Chris Matthews the first time he heard Obama speak, but I think anybody who has seen this movie will understand.

Beyond the script, which I truly believe ranks amongst the finest of all time, the direction and Camerawork is riveting. Welles was truly ahead of the curve when it came to converging angles, pans, really everything he does here is among the finest that those techniques have been used, making it hard to believe that Citizen Kane is turning 70 next year. The shots are fresh and bold, exciting and daring. I don't really know if there's anything I can insult.

But scripts and direction are useless unless there are quality actors reading said script and follow said directions and... this movie cornered the market on quality performances. Everyone from Welles as Kane right down to Guy standing on the corner #3 the acting is better than a good chunk of all other movies. But Welles Kane steals this movie, so egotistical, so driven, so charming, and so slimy that you can't help but loather him and respect him. You cheer for him during his rise, but you also smile at his fall. A truly balanced and incredible performance in every sense of the word.

I could prattle on and on like a school girl about this film and it's greatness for multiple posts, but dear readers I won't. I will wrap it up with the following recommendation and all the praise I can heap on this movie. If you haven't seen this movie, rush out and watch it, if you have seen it... watch it again, it'll be worth it.

Dr. Brooklyn says: LIKE this movie (10/10)

Top 5: Ongoing Comic Series

In a lot of my CBW posts I comment about how "this series is one of the best out there" or "This series is one of my favorites right now" so I decided to actually narrow it down and give you a real list of my favorite comics at the moment in one of my Top 5s. So doing this list is kind of tricky because there are things like Justice League: Generation Lost which I love, but it's a limited series and will only have 24 total issues, same with things like Kick Ass 2, Nemesis, Neonomicon, etc. so this list has these guidelines that it will follow
Guidelines: 1) The series must be current. 2) the series must not have an end in sight.

5. Deadpool:

Current Writer: Dan Way

Why I love it: It is consistently one of the funniest comics on the racks.

Best Arc: Deadpool #19-21 (Monkey Business) 

Alright, you know I love Deadpool, and this main series is why. The humor is constant and it's actually hilarious no forced attempts at quirkiness (every other DP title) no lame fart jokes, not stupid-to-be-funny plots (every other DP title), just good humor, awesome fighting, sweet plot lines, and one of my favorite writers all add up to make this a truly great series. There have been some lean issues, but over all everyone of Dan Way's issues have had some laughs and some like the introduction of Hit-Monkey have been so golden they've spawned off shoots (The Hit-Monkey mini). With all the funny of 60s Batman and all the insane action of a Robert Rodriguez movie, Deadpool is a series that you shouldn't miss.

4. Captain America:

Current Writer: Ed Brubaker
Why I love it: It adds so much to not only Cap, but to all his supporting players, working some truly amazing plots coupled with great action.
Best Arc: Captain America v5 #1-9,#11-14 (The Winter Soldier Saga)
As you learned from my Top 5 Superheroes my all time favorite character is Captain America, it used to be Batman, until I started reading what Ed Brubaker did with the character and then in all good faith I couldn't ignore the awesomeness that is Captain America. The Stories balance Captain America's love of his country, love of liberty, and how behind the mask he's just a man... a Super Soldier, yes, but more so just a man trying to be a better man. Cap is painted with a sympathetic brush and we see The Sentinel of Liberty receive amazing characterization, but we also see Bucky become more than just a kid sidekick, we see him become a tragic character as Winter soldier, and then an even more tragic character as Cap himself in #26 and onwards.


3. The Walking Dead:

Current Writer: Robert Kirkman

Why I love it: The writing is incredible matched with gorgeous art.

Best Arc: The whole series because it really is one big story arc (that's a cop out I know)
What can I say about this series? It's like a soap opera with zombies, but with some of the best writing out there. I don't think there are any other comics out there with characters nearly as human as TWD, except maybe Scalped. Rick and his motley crue crew are so human that you can almost see this being a docu-comic, written as true accounts of people, they are so flawed yet heroic at the same time you can't help but fall for this group. Also Michonne's ability to win Zombie Kill of the Week every week since Tyreese died is no laughing matter. But maybe more important to this story than Kirkman's words are Moore (at first) and now Adlard's amazing art capturing the horror and terror felt in each panel beautifully. And admit it, you cried when you found out who Rick was talking to on the phone.

2. The Boys:

Current Writer: Garth Ennis
Why I love it: The Gore, the satire, the awesome writing
Best arc: TIE We Gotta go Now #23-30 and Herogasm: Herogasm #1-6(Herogasm is technically a spin off)
Probably the goriest, funniest, and most touching series out there The boys may be Ennis's masterwork, which is saying a lot because he is the guy that gave the world Preacher and resurrected Frank Castle as one of the industries top Bad Asses. centering on Wee Hughie, The boys follows a CIA backed Super Team sent to kick the shit out of all the other Super teams. Sex, there's a lot; fighting, even more, but through all that we get many scenes that pull at us readers heart strings like the last issue which deals with Hughie and Annie's break up, as well as several Man to Man talks between Butcher and Hughie that show beneath the supe-blood caked skin of Butcher is a man who's not all evil, he's just been hardened by the oppressive supes.

1. Scalped:

Current Writer: Jason Aaron
Why I love it: The amazing characterization, great dialogue, take no prisoners action, and grat art that capitalizes on the grimy atmosphere.
Best arc: Unwanted #39-42
It's actually a funny story how I got hooked on this series. I was at a con and Jason Aaron was a featured guest. So I had my Punisher Max and Captain America: Who Won't Wield the shield (he said it's one of the only one's he's signed... I doubt that) and he had a stack of DC's reprint of Issue #1 and he asked if I wanted one I said sure and he signed it and gave it to me... and the rest is history. It's not often I get hooked on a comic series because the creator hands me an issue, so this series had a special place in my heart before I read it. Well, if you read my CBW posts (which I'm sure you do) I actually spoiled this one the other day when I said that Scalped is probably my favorite series right now, but now I'll fully explain why... well, actually I already did look up 5 lines and you'll see. Aaron writes with an intensity most comics can only dream of, his characters have been kicked around by life and they are truly hardened because of it, no pseudo tough guy dialogue like in most mainstream tales this story holds nothing back using every words from 'the' to 'c**t'. The characters are so complex any one of them could fill a series all by themselves, but putting them all together is like The Sopranos meets Broken Arrow (1950). There's romance (kind of) violence (a lot of violence) drugs, gambling, intrigue, and all sorts of plot twists.  

Comic Book Wednesday Part 3: The Rest

And last, but certainly not least (actually probably the foremost) is the Veritgo offering from this week... Scalped #42.

SCALPED #42
Words by: Jason Aaron
Art by: R.M. Guera

If you remember (and you'd better) I raved about the last Scalped and called it the best of the series, well, sadly this issue doesn't top it, but it does stay high up on the quality meter. We get the result of Dash and Carol running into each other, and we also get one of the most touching moments of the series... the opening of the issue is Carol dreaming about the perfect life Her and Dashiell are married, completely cleaned up, she doesn't have her tattoo's they live in a nice apartment they're happy and kind... but that's not how it is, because Carol and Dashiell aren't the ideal story book relationship. Furthermore, we get a conclusion to the Unwanted arc... Carol goes to Planned Parenthood and... well I'm sure you can put it together from there. I don't feel ashamed to say this at all... Scalped is the best series on the racks right now. The art is great and Aaron has a mastery of neo-crime with peers like Tarantino.

Dr. Brooklyn says: LIKE this issue (10/10)