Event: Nathan Edmondson At Iguana Comics

On Saturday, December 28^th, 2013, Iguana Comics (located at 329 NE 6^th Street in Grants Pass, Oregon) hosted a Q & A session with superstar comics scribe Nathan Edmondson (The Light, Who Is Jake Ellis?, Ultimate Comics- Iron Man, Grifter, The Activity, Olympus), who shed some light on what fans should expect from his two upcoming All-New Marvel Now! titles, Black Widow and The Punisher. I was on hand in the first row as fans asked questions and Mr. Edmondson replied in turn, giving insight to the creative process behind revamping two beloved characters and adding his distinctive voice to the storied histories of both.

With The Punisher, Edmondson revealed that we’ll be seeing a softer, more human side to Frank Castle. Not to say that he won’t be toting guns and taking out the bad guys like we’re all used to, but more aspects of his personality will be shining through. Also, we should expect to see the skull-clad vigilante cleaning up, becoming a bit more handsome, and smiling a little more often, which is something I’m not sure long-time fans of the character will be accustomed to. His run on the title will also mark a turning point in The Punisher’s history, as Frank Castle, so often in the role of the hunter, sees the tables reversed as he himself is hunted by a mysterious organization. While the older Punisher stories focused solely on the grimmer aspects of the character, Edmondson’s run looks like it may very well give more dimension to the character of Frank Castle and showcase a more sophisticated storytelling style.

Black Widow sounds equally awesome, as Mr. Edmondson hinted that we’d be seeing everything fans could want out of the character- a realistic portrayal of the female superspy, intersected by more intimate moments in the life of Natasha Romanoff.  Edmondson was quick to point out that previous comic series focusing solely on Black Widow have failed to gain a successful following, and that may be due in part to writers being a bit uncertain of what to do with the character. Male writers, and even some female writers, often have a hard time finding a voice for characters like Black Widow, adding in elements to make her seem more feminine while losing sight of what makes her such a bad-ass. Nathan Edmondson seems to have a great angle on the character’s balance, and I look forward to reading the first few issues to see how this is executed.

Edmondson also talked a bit about working in the film industry and the status of the Who Is Jake Ellis? feature film, taking on the task of writing female characters, and what to expect from his current and upcoming projects. An insightful, informative, and entertaining afternoon if there ever was one.

After the Q & A session, Mr. Edmondson was kind enough to hang out at the store and sign books for his fans, myself included. I had an opportunity to ask him his advice about breaking into the comics industry as a writer and even have a picture snapped of the two of us. Thanks go out to Nathan Edmondson for showing up and sharing his afternoon with us, and to the great staff at Iguana Comics for hosting the event!

Black Widow #1 arrives in comic stores on January 8th, 2014, and The Punisher #1 will be available on February 5th, 2014. Both titles are published by Marvel and are part of the All-New Marvel Now! line.

First photo: Sunda Egli @Iguana Comics. All other photos: Shawn Strawbridge

 

Review- Deadpool Kills Deadpool #2

Marvel Comics/$2.99

            Deadpool is progenitor of all things, and thus must end all reality. If all worlds must end, then so must all Deadpools. That’s the premise of Deadpool Kills Deadpool, and this limited series is so far full of all the insanity you’d expect from a Deadpool title to the nth degree. Deadpools from all the various alternate realities have taken sides and engaged in an all-out war to murder each other. Violent, witty, and truly zany, Deadpool Kills Deadpool delivers the goods as only Cullen Bunn can.

     Deadpool Kills Deadpool #2 sees our Deadpool and an assortment of alternate ‘Pools land (er, crash, really) their inter-dimensional spacecraft at their secret headquarters, only to find the remainder of their forces slaughtered. Evil Deadpool and his team, fresh from murdering the good ‘Pool’s allies, confront Deadpool and his new team-mates and one of the craziest battles in recent comic history ensue. Highlights include the introduction of a Pandapool and the final pages of the book, where we see Galactuspool. The Watcher, who also happens to be the multiverse’s biggest Deadpool fan, turns out to be a double-agent, as he thinks all of the various Deadpools are “so cool” and can’t seem to choose a side. All in all, this mini-series is turning out to be an absolute pleasure to read and I can’t wait for the next issue!

    Cullen Bunn is an amazing writer, and he has such a good grasp on Deadpool and what the character is all about that I wish Marvel would give him a regular Deadpool assignment. Although the monthly Deadpool series is just as good, Deadpool Kills Deadpool is so much fun to read that I want the next issue to be released immediately!

     Bunn’s excellent script is illustrated by Salva Espin (art) and Veronica Gandini (colors), with lettering by Joe Sabino.  The cinematic art has a style that compliments the story very well, and the vibrant colors seem to pop off the page. Overall, a hilarious and beautifully illustrated book, and I can’t wait to see how this story unfolds!

Reviewed by Shawn Strawbridge

 

Review: Batman, Incorporated #13

    

DC Comics/$2.99

            Grant Morrison’s run on Batman, Incorporated has been an impressive run, weaving an odd tale of a franchised superhero identity and taking readers on a rollercoaster ride that only Morrison is capable of. In the last thirteen issues, Morrison has given us a new legion of Batman-inspired characters, killed Robin (Damian Wayne), and now shown us the fall of Talia Al Ghul. Batman, Incorporated #13 marks the end of this current series and story arc and sets the stage for a revenge tale unlike any before it.

 

     The epic final showdown between Talia Al Ghul and Bruce Wayne is a battle royale not to be missed by any follower of any of the current Batman titles. Gotham City is a warzone and the Batcave serves as the stage for the duel to the death between the Devil’s Daughter and the Detective, and although this book sees the end of Talia Al Ghul, it is surprisingly not by Batman’s hand. James Gordon’s suspicions about Bruce Wayne are all-but-confirmed as the latter tells the former exactly what he expects to hear during a police interrogation following the final conflict. Finally, a revenge ploy of epic proportions against the Batman is hatched in the book’s final pages. This is an issue that is both a satisfying conclusion to a great story arc and a bridge to the future of both Batman, Inc. and the Al Ghul family.

 

     As usual, Grant Morrison’s solid script is illustrated by the excellent Chris Burnham, with colors by Nathan Fairbairn and lettering done by Steve Wands and Travis Lanham. Overall, issue #13 is an excellent read by a great creative team and a fitting finale to the first volume of Batman, Incorporated. The first trade has recently been released of this series, and if you’ve been out of the loop with this run, then I suggest you pick up the collection and the recent back issues and catch up. If this title comes back, it’ll be with a vengeance!

Reviewed by Shawn Strawbridge

 

Review: A Nightmare On Elm Street (1984)

New Line Cinema/1984/Directed by Wes Craven

Available on DVD/Blu-Ray

            Years before Peter Jackson’s excellent Lord Of The Rings trilogy made New Line Cinema a household name, the company was best known for its other “cash cow” franchise- the Nightmare On Elm Street series. The first entry in the series, A Nightmare On Elm Street, came along in 1984, laying the foundation and setting the standard for cinematic “slasher” films for years to come.

            Written and directed by Wes Craven (the same man responsible for bringing us The Hills Have Eyes, Last House On The Left, Swamp Thing, and the Scream franchise, to name a few), A Nightmare On Elm Street may seem like a typical boogeyman tale on the surface, but dig deeper and you’ll find more meaning in this seminal horror classic. Subversive and scary, the film speaks volumes about the nature of dreams, individual inner strength, vigilante justice, and conquering one’s fears. It’s certainly a horror film, to be sure, but it’s a smart horror film, and that may be the main reason why it’s still talked about and referenced today.

 

            A Nightmare On Elm Street centers around teenager Nancy Thompson, who, along with her group of friends, is plagued by nightmares of a horribly-burned, razor-fingered boogeyman named Freddy Krueger. One by one, Nancy’s friends are hunted, tormented, and killed in their dreams by Freddy, which causes them to die horrible deaths in their sleep. Ultimately, the film climaxes in a duel to the death between Nancy and Freddy, where she must make the choice to either give in to her fears or turn her back on them.

     A great film with a stellar young cast- the excellent (and fan-favorite) Heather Langenkamp plays Nancy, leading the cast of teenagers (which also included Johnny Depp in his first film role, as Nancy’s boyfriend Glen).  A Nightmare On Elm Street introduced us to yet another immortal film monster in the form of Freddy Krueger, the role that actor Robert Englund is best known for. Englund played the maniacal Freddy for six Nightmare sequels, a television series (the short-lived Freddy’s Nightmares), and one crossover (the fan-favorite Freddy Vs. Jason), truly making the role his own. Writer/director Wes Craven is known as the “Father of Freddy”, and this is the film that started it all. He returned to contribute his delightfully deranged talents to two more films in the series, A Nightmare On Elm Street, Part 3- The Dream Warriors and Wes Craven’s New Nightmare, and his three entries are widely considered to be the best of the franchise.

    

     A Nightmare On Elm Street is still worth revisiting today. Like all films from the eighties, it has aged, but endearingly well. The same cannot be said for the film’s sequels, however, but we’ll save that for another review. A Nightmare On Elm Street was remade in 2010 and although it was a noble effort and is a good film in its own right, for my money it lacks the charm and scares of the original version, which stands tall as a great horror classic and a worthy addition to any film collection. Freddy Forever!

Reviewed by Shawn Strawbridge

 

Review: The Dark Knight Rises

Warner Bros./2012
Available on Blu-ray/DVD

     When Warner Brothers rebooted the Batman franchise in 2005 with Christopher Nolan’s Batman Begins, critics and fans alike were skeptical of whether or not the character could be revived on the big screen after 1997’s ill-received Batman & Robin. After Tim Burton’s blockbuster 1989 film, Batman, and his sequel, Batman Returns, the series seemed to lose its dark, moody edge and move toward a campier approach reminiscent of the 1960’s Batman television show. Batman Begins gave us a dark, serious superhero movie deeply rooted in reality; a psychological rollercoaster of a film that served as a cinematic statement on fear, justice, loyalty, and vengeance. The film won over critics and audiences, re-validated the Batman character as a viable cinematic hero, and launched a new Batman film franchise. Nolan’s 2008 follow-up, The Dark Knight, was a massive critical success and a pop-culture phenomenon.

      The director’s third and final entry in his Batman saga, The Dark Knight Rises, was perhaps the most highly-anticipated movie of summer 2012. After all, the last film, The Dark Knight, was a game-changer for superhero movies, transcending the genre and setting a new standard for all similar films to follow. Expectations for Christopher Nolan and company to deliver were high, to say the least.

 

     The Dark Knight Rises is set eight years after the events of The Dark Knight, with Gotham City enjoying an unprecedented period of peace. Organized crime is all but non-existent, Harvey Dent (the character who became the villainous Two-Face in The Dark Knight) is hailed as a martyred hero, and a tranquility and peace of mind has settled over the city and its residents. The Batman, who took the blame for Dent’s crimes at the end of the last film, has disappeared from Gotham, and is believed by all but a select, knowing few to be Harvey Dent’s murderer. Gotham City’s newfound peacetime, as anyone who saw The Dark Knight knows, is based upon lies. The truth starts to reveal itself, though, as a new terrorist calling himself Bane surfaces in Gotham, intent on bringing the corrupt and deceptive city to an end. He claims to be a liberator, a savior whose actions are meant to give Gotham back to its people, but his motives are soon revealed to be much more sinister.

     Bruce Wayne, meanwhile, has spent the last eight years in isolation; a hermit who’s body and psyche have been battered by his encounter with The Joker and Two-Face in The Dark Knight. He is soon brought out of solitude to once again protect Gotham City from Bane and his army of mercenaries as Batman. Not only must he deal with the threat of Bane, an opponent who is in every way a match for the Caped Crusader, but the Gotham City Police Department is also hunting Batman, believing him to be the killer of the man who had saved their city. Add the seductive and mischievous Selina Kyle into this mix, and it would seem the grizzled and battle-weary Batman has his work cut out for him.

 

 

     An intense, stylish superhero action movie, The Dark Knight Rises also has a lot going on underneath the obvious. In a post-9-11 world, it makes a bold statement on the effects of terrorism and the willingness of society to surrender to authority. It is also about the relentless struggle of heroes, who sometimes have to give everything, including their lives, to uphold their ideals in the face of adversity. Christopher Nolan isn’t known for making light films. This is the same guy who made Inception and The Prestige. His films manage to be subversive and have multiple layers, all the while being both heady and entertaining. He is undoubtedly a talented director, and anyone chosen to helm the next reboot of the Batman legend will have some rather large shoes to fill.

     The Dark Knight Rises benefits from having a fine cast of both newcomers and returning players. Christian Bale reprises his dual role as Bruce Wayne/Batman, playing the character as a war veteran returning to face his final and most challenging adversary yet. He does a fine job of portraying the Dark Knight, only this time a little older and a little more haggard.

     Gary Oldman also returns as Police Commissioner Jim Gordon, an aging law enforcement veteran who struggles to keep secret the lies he knows hold the city together. Oldman is a fine character actor, and he uses his skills effectively to convey a sense of believability to Gordon.

     Tom Hardy, perhaps best known for his work in Nolan’s own Inception, plays the terrorist Bane, the lead villain with his own ties to Bruce Wayne’s past. Hardy makes the role his own, and although he wears a half-mask throughout the film, emotes well and acts superbly despite the obvious restrictions.

     Anne Hathaway plays Selina Kyle, the high-tech thief that has ties to both Bane and Bruce Wayne. Although the actress is best known for sweet and likeable roles, she plays against type here, being both dangerous and seductive. Also on hand is Marion Cotillard as Miranda Tate, a business partner of Wayne’s helping him to develop a clean energy generator to benefit Gotham City.

     Joseph Gordon-Levitt portrays Detective John Blake, a young Gotham cop who Commissioner Gordon takes under his wing. A gifted actor, he brings honesty to the role, as one of the few cops who still believe in doing the right thing against unspeakable odds. Michael Caine returns as Alfred Pennyworth, Bruce Wayne’s trusted butler and surrogate father figure. Also returning is Morgan Freeman as Fox, Wayne’s close friend and R&D developer. Liam Neeson and Cillian Murphy also make brief appearances, reprising their roles from Batman Begins.

 

     The writing team of director Christopher Nolan and his brother, Jonathan Nolan, along with David S. Goyer, have crafted an amazing story and a well-developed script. Every character, especially ones that we’ve been with since the first film, feel fully fleshed out and each have a distinctive story arc. The story itself is strong enough to stand on its own, with a definitive beginning, middle, and end.

    With distinct ties to Batman Begins, The Dark Knight Rises is a satisfying conclusion to Christopher Nolan’s Batman trilogy. Tragic, yet hopeful, it is an emotional final act that has resonated with audiences and, of course, divided the millions of Bat-fans around the world. When Warner Brothers and DC Comics decide to reboot the franchise again, which is inevitable, they will have a very high standard to live up to indeed.
 

 

 

 Reviewed by Shawn Strawbridge

Review: Nightbreed

Morgan Creek-Warner Bros./1990/Directed by Clive Barker

Available on DVD

            There’s a lot one can say about this little gem of a fantasy/horror film. Often overlooked by horror fans and critics alike, Clive Barker’s Nightbreed has managed to garner quite a cult following over the twenty-three years since its initial release. Dark, twisted, imaginative, and visually stunning, the film transcends the horror genre in many ways. For fans of monsters and practical make-up FX, Nightbreed is stocked with creatures the likes of which have never graced the screen before, as the film depicts a whole city full of fantastical nightstalkers!

            The film’s story centers around Boone, a troubled young man plagued by nightmares of a place called Midian and the monsters that dwell there. His shrink, Dr. Decker (who has quite a dark side himself), convinces Boone that he may be responsible for a recent string of brutal murders and prescribes him some dubious medication, urging him to turn himself in to the authorities. Some major plot twists ensue, and it’s not long before Boone realizes his connection to the mythical city of Midian, and the reasons for his recurring dreams of the place and the creatures that dwell there. He discovers that Midian is real, as are the monsters that call the hidden city home, and Boone inadvertently threatens to bring destruction upon them all as Mankind wages all-out war with the Nightbreed.

Clive Barker, both as a writer and filmmaker, is known to weave layers upon layers of meaning and symbolism into his work, and Nightbreed is no different. Based on his short novella, Cabal, it’s a film that fell victim to censorship and poor marketing in its day. Neither fully fantasy nor horror, the story melds the two genres, making Nightbreed a very unique film during the slasher sequel-heavy era of the late 1980’s and early 1990’s. Growing up during the eighties, I had begun to get bored with the countless sequels to fare like Friday The 13^th, Halloween, and A Nightmare On Elm Street. As good as some of those films were, it started to seem like these franchises were nothing more than cash cows for their respective studios. Films like Barker’s Nightbreed and the original Hellraiser (which he also wrote and directed) seemed like breaths of fresh air in an increasingly stale genre.

            While some of the computer-generated effects seem a little dated, Nightbreed’s impressive menagerie of monster make-up effects are as striking today as they were in 1990. Anyone who is familiar with Clive Barker’s novels and paintings knows he creates creatures that are, well, weird, and the FX team working on Nightbreed (a great many of whom also served to create FX for the first two Hellraiser films) did a fantastic job of bringing these horrors of Midian to life. The film is a visual feast for any monster fan.

Craig Sheffer portrays Boone, and does a great job at playing the human-turned-monster. The real treat of the cast, though, is horror director David Cronenberg, who in a rare turn plays the evil Dr. Decker with such cool, creepy charm that it’s no surprise the character has become a fan favorite. Doug Bradley (“Pinhead” himself, from the Hellraiser franchise) turns in a fine performance as Lylesberg, the ill-fated leader of the Nightbreed. Danny Elfman’s score to the film is chilling and evocative, and perfectly fitting to bring Barker’s vision to life.

            The story and script remain strong and valid, and at the heart of this deluxe monster film we find a great morality tale that examines our fear of people and cultures that are different from us. Midian’s creatures turn out to be the heroes of this story, and the real monsters turn out to be… us. Nightbreed speaks to the outsider in all of us, and by the end of the film, you may find yourself wanting to pack your bags and move in with the Tribes Of The Moon.

It’s worth mentioning that there were huge segments of footage omitted from Nightbreed, and that fans have been clamoring for a Director’s Cut of the film for years. A few years ago, at a HorrorHound Weekend convention, a full version of the film was screened for a packed house (with Clive Barker, Doug Bradley, and numerous other Nightbreed luminaries in attendance) and to rave reviews. This "Cabal Cut" of the film has been making the rounds lately, with screenings held all over the world, and fans can only hope for a Blu-ray or restored DVD soon. 

British extreme heavy metal band Cradle Of Filth managed to write and record a whole album based off of Nightbreed (“Midian”, released on Halloween, 2000) with Doug Bradley doing narration for the opus. Bradley has gone on to collaborate with the band on nearly every release since then.

            If you’re a horror fan and you’ve never seen Nightbreed, you’re certainly missing out. If you haven’t seen it in quite some time, then it’s a film worth revisiting. The 'Breed beckon you to return with them to Midian...

Reviewed by Shawn Strawbridge

Review: The Superior Spider-Man #13

Marvel Comics/$3.99

Marvel Now’s The Superior Spider-Man has been a mixed bag for me. On one hand, I love that writer Dan Slott and company have taken many risks with the character. Killing Peter Parker, having Otto Octavius take his place, and giving birth to a darker, more violent Spider-Man was a huge gamble. It has made for some interesting stories and twists on familiar characters that have kept me reading the title to see what the creative team has up their proverbial sleeves. On the other hand, I love the character of Peter Parker and miss the more traditional tales of the Amazing Spider-Man and am unsure if the decision to switch gears was a wise one. To say that this title has divided Spider-Fans is an understatement. Some love it, some hate it, but most are sticking with the book to see where these interesting twists and turns are leading them.

The Superior Spider-Man #13 is the conclusion of the “No Escape” storyline, where Alistair Smythe, the Spider-Slayer, has attempted to break out of the floating prison designed to hold super villains called The Raft. Smythe has managed to escape his scheduled execution, free himself and fellow villains Scorpion, Boomerang, and the Vulture, and hold the rest of the Raft (including Mayor J. Jonah Jameson and a group of civilians) hostage while playing a cat-and-mouse game of chase with the superior Spider-Man. The confrontation comes to a close in this issue, which also features an appearance by the Lizard, as Spidey and the Spider-Slayer have their final battle- to the death! The conclusion of the book wraps up with Spider-Man having a new headquarters, a new costume and some minions on the way, and a little something to blackmail Mayor Jameson with.

Love or hate the new direction that Spider-Man has taken, it’s hard to argue that Dan Slott is an excellent writer, weaving Spider-tales that are highly entertaining and full of action and twists. While Slott plotted this issue, Christos Gage actually wrote the script, with pencils provided by the excellent Giuseppe Camuncoli. Inks were done by John Dell and Terry Pallot, with Chris Eliopoulos doing the lettering. The art pops off of the page and makes the story really come alive. All in all, a satisfying conclusion to the “No Escape” arc and a fun read. Superior? The verdict’s still out on that one. A fun thrill ride of a comic? Absolutely!

Review: Batgirl #22

DC Comics/$2.99

Simply put, writer Gail Simone’s Batgirl run has been an awesome read. While Scott Snyder has been putting his dark stamp on the core Batman title, Simone has been expertly crafting a superhero epic with a distinct feminist edge- simultaneously reminding us of why the character of Batgirl is cool while breaking new ground and creating new adversaries for Barbara Gordon. Simone’s writing on the Batgirl book won me over with the first issue and has made me fall in love with the character again and again on a monthly basis.

Following the death of her brother, James, Barbara Gordon begins to fall back into a pattern of normalcy (as much as a member of the Bat-Family can, anyway) by actually going on a date with a young man named Ricky. Their night of opera-going is interrupted, however, by an attack on Ricky by some gang members. Needless to say, Barbara can handle herself in such a situation, but she is surprised to discover that her date can, as well.  She and Ricky briefly brawl with the gang members, dispatching them quickly and send them whimpering away. Their date continues, and the pair finds themselves at Ricky’s apartment, having dinner and chatting with his family. Barbara is reminded of the family experience that she may never have again due to recent events. (I don’t wish to ruin some of the shocking moments that have come before this story for those of you who have not been following Batgirl, and shame on you for not reading such a fine comic. Go to your nearest retailer, buy the first two collections and a few back issues and get caught up!) After her date with Ricky, Barbara is summoned to a meeting with her father, Jim Gordon, and the two have a heart-to-heart discussion that is a tear-jerking moment of the issue, leading Barbara to make a drastic decision about her future as her father commits to a quest to bring Batgirl to justice for what she did to his son. The last four pages made my jaw drop open in surprise! Batgirl #22 is a fine read, and, as always, the book leaves me wanting more. The immediate future of the title will no doubt be filled with twists, shocks, and heart-wrenching moments. One of the things I like most about Gail Simone’s Batgirl is the inner dialogue of Barbara Gordon. As an audience, we’re invited to share in her insecurities, heartaches, triumphs, losses, fears, and joys. It strengthens the narrative, improving on an already well-crafted story, and makes this book an absolute pleasure to read. Please keep it coming, Gail, because Batgirl is one of the most refreshing, solid books in DC’s mainstream stable of monthly titles!

Simone’s excellent script is ably brought to life by penciller Fernando Pasarin and inker Jonathan Glapion, with expressive colors by Blond and sharp lettering by Dezi Sienty. Alex Garner’s beautiful cover is extremely eye-catching and collectible in and of itself (I wish DC would start making posters of some of these covers!) and all together, this is an incredible book and well worth spending a few bucks of your hard-earned cash on each month. Way to go, DC!

Review: Batman #22

DC Comics/$3.99

When DC Comics re-launched their line with The New 52! reboot, fans were both excited and skeptical about what changes would be made to the DCU and their favorite characters. The goal was to excise seventy-plus years of continuity and draw in new readers with a fresh, modern approach to their characters and the DC Universe. Now that we’re almost two years into The New 52!, it’s safe to say that their plan has, for the most part, worked. Sure, comic book fans have been divided over some of the changes made to the core titles, but speaking as a relative newcomer to the wider DCU, I’ve rather enjoyed this new universe. While I read Batman, Green Lantern, and the occasional Superman book growing up, I was pretty much a hardcore Marvel Comics reader. When I started picking up titles from The New 52! I found that I liked this reboot more and more, and the stories reminded me of my heyday of comics reading back in the mid-to-late 1980’s. Some good, solid superhero stories are coming out of DC these days, and for the first time ever I’m finding myself buying more DC comics than Marvel books.

The head of the pack when it comes to consistent quality, Scott Snyder and Greg Capullo’s Batman delivers the goods month after month. So far we’ve seen three amazing story arcs played out, and their fourth has just begun. Zero Year, which began in Batman #21, gives us an extended origin story of the New 52 Batman. The origin of the Batcave, the construction of the Batsuit, and the early days of many of Bruce Wayne’s major villains are being revealed in this new arc. I typically dislike origin retellings, but this one keeps me turning the pages. The writing is very strong and the art is amazing, and one can only hope that Snyder and Capullo remain the creative team on this book for at least a few years longer. I feel that Zero Year, along with Night Of The Owls, The Court Of Owls, and Death Of The Family are some of the strongest Batman stories to come out since Jeph Loeb and Jim Lee’s Hush!

Batman #22 tells of one of Bruce Wayne’s run-ins with the Red Hood gang, who have stolen some of Wayne Enterprises high-tech weaponry and have started their plan to seize Gotham City in a grip of terror. We also see Bruce use his skills as a master of disguise to impersonate Oswald Cobblepot in an attempt to foil the Red Hood gang leader. It’s nice to be reminded of the detective side of Batman, as that’s what the character originally started out as- a costumed detective with unmatched skills in disguise and stealth. In this issue, Bruce Wayne’s uncle tries to convince him to come back to Wayne Enterprises and help run the company, as Bruce has been away from Gotham for years and only just returned to the city that took his parents from him. Zero Year does a great job at building up to the point where Bruce dons the cape and cowl and becomes the Batman, introducing major characters and villains early on and portraying them as they were before their alter-egos took center stage. As a whole, I think this story will be fantastic, and I can hardly wait a month until issue #23 hits stores!

As usual, Scott Snyder’s script is superb and doesn’t skip a beat, and Greg Capullo’s incredible pencil work creates a very dark and cinematic feel to the book. The art team is nicely rounded out by Danny Miki (inks), Fco Plascencia (colors), and Nick Napolitano (letters). Like I said earlier, this book consistently delivers on a monthly basis, and if you only read one DC title every month, you should be reading Batman!

Review: Trinity Of Sin: Pandora #1

DC Comics/$2.99

DC Comics’ Summer crossover event, Trinity War, kicks off this month with Trinity Of Sin: Pandora #1! This story has been brewing in the back pages of Justice League for some time, and the outcome of this crossover will have an impact on the entire DCU as it unfolds across all the various JL titles throughout the Summer of 2013. Writer Ray Fawkes and a host of artists bring this first installment to life and shed some light on the mysterious Pandora.

The first issue of this series tells the backstory of Pandora, the Mother of Sins. An accident of fate causes a young woman to unleash the twelve deadly sins upon the world, cursed to eternally be their “mother” and watch helplessly as they ravage the Earth. Although she is cursed with immortality, Pandora hatches a plan to free herself of her burden and to rid the world of sin. Trained in a variety of physical, mental, and magical disciplines, she travels the world foiling the twelve deadly sins, but she finds herself in need of aid from the purest hearts and begins to seek out the heroes of the DC Universe.

Written ably enough by Fawkes and drawn by Zander Cannon, Daniel Sempere, Patrick Zircher, and Vicente Cifuentes, Trinity Of Sin: Pandora #1 is not to be missed by anyone wanting to read every installment of Trinity War and serves as a great introduction to a mysterious and darkly cool new heroine. I can’t wait for Justice League #22, the first “chapter” in this massive Summer event!

Review: The Amazing Spider-Man

Sony/Columbia Pictures, 2012

Available On Blu-ray/Blu-Ray 3D/DVD

 

            It’s only been ten years since Sony first brought the Marvel Comics web-slinger to the screen, and some would argue that it’s a bit too soon to reboot the franchise, but in that amount of time we’ve seen the superhero film genre become much more layered and sophisticated. Films like Christopher Nolan’s current Batman trilogy and Marvel Studios’ own efforts have raised the bar considerably and redefined what these movies could, and should, be. Sony/Columbia’s newest entry in the tights-and-spandex ring, The Amazing Spider-Man, seeks to restart and redeem the franchise that many felt had run its course.

            A retelling of Spider-Man’s origin story, the film follows the young Peter Parker as he struggles to find his place, both in his high school and in the world at large. He’s a bit of a loner, an outcast who lives with his kindly aunt and uncle after his parents disappear under mysterious circumstances. After stumbling across evidence of his father's scientific research, Peter seeks out his father's former partner, Dr. Curt Connors, a reptile specialist working for OSCORP who is obsessed with ridding humanity of genetic imperfections. It is there at OSCORP that young Parker encounters the spider that bites him and transforms him into the titular wall-crawler. Using DNA samples of a lizard, Peter works with Connors to figure out the missing piece of the formula needed to make his regenerative cure a reality.  OSCORP executives, however, have an agenda of their own for the miracle formula. While the serum does succeed, it brings with it some horrible side-effects, and Dr. Connors is transformed into the villainous Lizard, a giant, super-strong reptile with some serious delusions of grandeur.  A superhero-versus-monster battle royale ensues, with humanity’s future at stake. Woven throughout the superheroic mayhem is a touching love story between Peter and his high-school sweetheart Gwen Stacy and the tragedy of his Uncle Ben’s death, the event that ultimately causes Peter to become Spider-Man.

 

     The cast of The Amazing Spider-Man delivers with such earnestness that it’s hard to find much fault with the performances. The characters are well-developed, with each allowed to grow and have a realistic arc.  Andrew Garfield, as Peter Parker/Spider-Man, shines. His portrayal reminds us that the best Spidey stories aren’t really about Spider-Man at all, but rather the guy under the mask. He plays the geeky outcast well. Peter’s not very well-off with the fairer sex, gets bullied by school jocks, and has had a young life littered with tragedy. Many viewers can relate to that, and Garfield’s performance bristles with empathy, charm, and earnest goodness. He has a few scenes where there is very little dialogue, but the expression in his eyes and face speak volumes for him. He brings an emotionally-charged energy to Peter Parker, making viewers identify with him and care about him as a character.

 Emma Stone is terrific as Peter’s love interest, Gwen Stacy. She looks as though she stepped out of the classic-era Spider-Man comic books and onto the screen. Stone brings a humor and warmth to the role that transcends typical characters of this kind. She makes us fall in love with Gwen along with Peter. Smart, funny, strong, and articulate, Gwen Stacy is more than just eye candy for the fanboys in this film. It’s worth mentioning that the onscreen chemistry between Andrew Garfield and Emma Stone is fantastic, making the characters’ relationship seem very realistic and reminding us of what it was like to be awkward teenagers in love.

Rhys Ifans plays Dr. Curt Connors/The Lizard with a Jekyll and Hyde-type duality, causing the audience to simultaneously like and hate him. As Peter’s pseudo-mentor, and later his nemesis, Ifans creates a convincing villain for our friendly neighborhood Spider-Man. Misguided and driven mad by his miracle serum, Dr. Connors becomes a wholly different character when transformed into the Lizard, but at his core remains the well-meaning doctor. After all, the best villains never think that they’re villains, and Rhys Ifans plays this up rather well.

The supporting cast is impressive as well, with Denis Leary as Gwen’s father, police Captain Stacy, whose quest to bring to justice the masked vigilante known as Spider-Man takes an unexpected turn. Martin Sheen and Sally Field portray Peter’s surrogate parents, Uncle Ben and Aunt May, with sincerity and realism. Also appearing in small roles are Campbell Scott, C. Thomas Howell, and, of course, Stan “The Man” Lee.

Screenwriters James Vanderbilt, Alvin Sargent, and Steve Kloves have crafted an excellent script, updating the Spider-Man origin and presenting the audience with a contemporary cast of characters, all the while keeping intact the core elements of what make the original story so great. There are deviances from the comic book source material, sure, but certainly less than the last cycle of Spider-Man movies.

The Amazing Spider-Man delivers on multiple levels; part character-driven indie film, part old-fashioned monster movie, and part Hollywood spectacle. Director Marc Webb balances these radically different sensibilities near-perfectly, switching between insane action and quiet character moments without jarring the audience or making one feel as though they’re watching two different movies. He’s created a high-octane superhero movie with an emotionally-driven core.

 

The action and CGI scenes work remarkably well with the practical effects and live-action, creating a convincing and exciting viewing experience. There are a few instances where the CG animation for the Lizard character seems a bit wonky, and the newly-designed Spider-Man costume takes a little getting used to, but these factors never detract from the overall experience.

 While comparisons to Sam Raimi’s Spider-Man trilogy are inevitable and expected, The Amazing Spider-Man spins its own web and stands on its own as the first installment of an intended trilogy. With passing mentions of other note-worthy characters from the Spider-Man mythology, most notably Norman Osborn, one can only hope that the next film will build on this foundation and be as fine of a film as this one.

The transfer on both the Blu-ray and the DVD look and sound terrific, but the special features are standard for a movie of this budget. The video nerd in me suspects that Sony's holding back some extra material to include in a future re-release, most likely before the forthcoming sequel hits theaters. Special Features include a fairly impressive featurette selection and a decent commentary track featuring director Marc Webb and super-Marvel producer Avi Arad. There's also an art gallery, and deleted scenes. Are you getting your money's worth by purchasing it? If you're a fan of Spidey, I'd say yes. Not as good as The Avengers, but by far one of the best on-screen versions of Spider-Man to come from any medium. I give it five thwipps!

 

Reviewed by Shawn Strawbridge

Review: Deadpool Kills Deadpool #1

Marvel Comics/$2.99

 

Marvel’s Deadpool books are known for being crazy, hilarious, and super-violent, making the character a favorite of both the die-hard Marvel Zombie crowd and the casual reader. The attention that Deadpool receives is not unwarranted though, as his ongoing title and spin-off books have been some of the most enjoyable reads in mainstream comics. Deadpool Kills Deadpool is no exception.

Issue #1 (of 4), written by Cullen Bunn and drawn by Salva Espin, is one of the best single-issue releases of the week! Non-stop action and violence peppered with Deadpool’s trademark gags, the setup goes something like this- A Deadpool from an alternate reality is hunting other Deadpools from all the other realities in an attempt to rid the multiverse of all the possible Deadpools in existence. Sound confusing? It’s not, really. It actually makes sense when read in context. The Deadpool Corps come into our Marvel Universe looking to find Wade Wilson (our Deadpool, in case you were in the dark) and enlist his help in ensuring all of the Deadpools’ survival, but as they do, the alternate Deadpool hunting them all shows up and a battle of the ‘Pools ensues. Some live, some die, and the ending of the issue kicks off what is sure to be a classic limited series.  Highlights of this issue for me were seeing Headpool cooked in a microwave, a Motley Crue reference, and the appearance of Deadpool’s biggest fan, The Watcher!

If you’re a fan of the character, his regular, ongoing monthly title, or are just looking for something hilarious and twisted to read, then you simply must check this book out! The writing is great, the art is awesome, and… it’s Deadpool! ‘Nuff said, True Believers!