Category Archives: Reviews

TV Review: The Tick (2016) S1E4 Party Crashers

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the-tick-img-1200x1200Tick crashes an Everest family party to convince Arthur’s sister Dot of her brother’s super-heroic destiny. Another more dangerous party-crasher arrives to threaten Arthur and his family.

It’s taken four episodes, but here we finally see some of the humor I expect in a live action The Tick series. The episode takes Arthur to a birthday party for his father where he’s confronted by Miss Lint who needs his help regarding the mysterious suit. The humor is both physical and written and really nails it in a lot of ways.

The Tick comes off as innocent and just plain dumb as he sits enjoying presents being opened in a childlike way that’s somewhat endearing. There’s also his embracing of a homeless person and not remembering a bad guy, this Tick isn’t so much a goofball as he’s pure innocence.

Then there’s some physical humor regarding Arthur’s super suit that’s fantastic as it mocks heads up displays and wearables. It’s just gooy and done in a way that had me snickering.

Then there’s Overkill and hist boat which feels like the worst update to Knight Rider ever… or maybe the greatest.

None of this is laugh out loud funny but it has the underlying silliness of the original two versions. This is just the dry sarcastic brother of them all. It’s a dierent sort of Tick, but one I’m really appreciating in its reserved sense of humor.

You can watch The Tick now on Amazon.

Overall Rating: 7.0

TV Review: The Tick (2016) S1E3 Secret/Identity

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the-tick-img-1200x1200Arthur takes a break from hunting the Terror and tries to get back to his safe, normal, and unheroic life as an accountant unaware he’s being stalked by the menacing vigilante Overkill. Tick confesses to an existential crisis.

Overkill has become the focus of The Tick, in a way, as Arthur attempts to go back to his normal life and the series feels like it’s really getting going. Overkill is an anti-hero who’s keen on killing the bad guys.

The Tick continues to make it its own thing as The Tick attempts to get Arthur to be his sidekick and Arthur just wants to be alone. This isn’t a series with lots of fighting of colorful and goofy villains. Instead it’s a muted version of everything and a bit on the serious side. The superheroing is rather limited.

The episode has a lot that’s set up but at the same time ins’t that exciting. Arthur loses the suit, the Tick wants to get Arthur to help him, Overkill hunts Arthur, but the episode feels like it’s just set up for what’s to come. That’s not bad in ay way, it’s just very different in a lot o ways.

The episode has me still interested in seeing what’s next and the more I don’t compare it to what’s come before it, the more I enjoy it. While it’s not the comedic joke a minute I was expecting, it’s still a fun and entertaining addition to the live action superhero genre.

 

You can watch The Tick now on Amazon.

Overall Rating: 6.95

TV Review: The Tick (2016) S1E2 Where’s My Mind

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the-tick-img-1200x1200Tick and Arthur have a run-in with local villainess Miss Lint and her gang, who will stop at nothing to get back the mysterious supersuit that Tick took from them and gave to Arthur. Dot, Arthur’s paramedic sister, moonlights for an unsavory business.

So far, this iteration of The Tick is much darker than previous live action versions, it’s different, and that’s not a bad thing. One thing that stands out is Griffin Newman‘s Arthur who feels more like the focus of the series as opposed to the sidekick.

What’s particularly great about this take on Arthur is the series willingness to play with his mental state leaving the viewers to guess as to if the Tick (played by Peter Serafinowicz) is even real. The answer is revealed by the end but for much of the episode I was questioning the reality of it all.

The series’ shift in character focus also changes the story to be about a person dealing with PTSD and struggling in the world. It’s interesting in its own way. The series shits the focus as well in that in other versions it’s the Tick we wonder about his mental state. Here, he’s just a big blue idiot.

The second episode is dark, really dark, especially at the end emphasizing this isn’t The Tick of the past and even then, it has me wanting to come back for more.

You can watch The Tick now on Amazon.

Overall Rating: 7.1

TV Review: The Tick (2016) S1E1 Pilot

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the-tick-img-1200x1200In a world where superheroes have been real for decades, an accountant with mental health issues and zero powers comes to realize his city is owned by a global super villain long-thought dead. As he struggles to uncover this conspiracy, he falls in league with a strange blue superhero, who may or may not be a figment of his own imagination…

Debuting as part of Amazon‘s latest Pilot Season and now streaming its first full season, The Tick has been updated in many ways and some of it works, and some of it doesn’t. I’m a big fan of the comic, original animated series, and first live action iteration, and have been looking forward to this debut.

For those who have might not have seen the previous iterations, the series focused a lot on both The Tick and Arthur with The Tick being the one you’re wondering about his mental state. In this version, it’s Arthur who is the one whose grasp on reality is tenuous after trauma earlier in his life. And that trauma and spin had me wondering if The Tick actually existed, or if he’s a figment of his imagination. That’s an interesting twist, and that coupled with some directorial choices, the episode is much darker than I expected.

Peter Serafinowicz steps into the suit of The Tick and Griffin Newman is Arthur Everest in this version and both are entertaining, though Newman really stands out as Arthur. It may be due to the fact that most of the episode revolves around him, but his acting is really entertaining and he feels like the sad sack he’s supposed to be. Serafinowicz is ok as The Tick, though the dialogue doesn’t feel quite as bizarre as past iterations. There’s not enough of him to really judge his version, but so far, it just is ok.

The outfits of the two are ok though I’m not sure I’m a fan of the textured look of The Tick’s. Arthur’s, which we see at the end looks updated and pretty solid, making more sense than what’s come before.

The episode goes a bit darker as I’ve said, but it doesn’t play with that darkness for humor. There’s a bit there, but it doesn’t quite go far enough to be comical, it’s just a darker version of The Tick.

We don’t get a whole lot in this episode and I’m not quite sure it makes the case to continue, but I’ve missed The Tick, and I want to see more. There’s a lot laid out, but it’s just one episode, so the payoff is thin and few (many of the jokes of previous live action versions had jokes playing out over many episodes). Still, the groundwork is there for what looks like it could be an entertaining new take on the classic character.

You can watch The Tick now on Amazon.

Overall Rating: 6.8

Movie Review: Netflix’s Death Note Makes Me Want to Put My Name in the Book

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Based on the famous Japanese manga written by Tsugumi Ohba and Takeshi Obata, Death Note follows a high school student who comes across a supernatural notebook, realizing it holds within it a great power; if the owner inscribes someone’s name into it while picturing their face, he or she will die. Intoxicated with his new godlike abilities, the young man begins to kill those he deems unworthy of life.

Going into watch Netflix‘s latest original film, I knew very little about the Death Note manga or anime having never read it or seen it (and also not enough to reflect on any whitewashing controversies surrounding it). So, when judging this film I get to go in fresh without preconceived expectations and coming out the other end, I can’t say I have any interest in exploring the source material.

This Death Note takes place in Seattle with a story that feels a bit like a messed up Mean Girls “burn book” meets Se7en. Actor Nat Wolff is Light Turner who is presented with a book that when he write’s their name and envisions their face, they die. Light has the power of a god to decide who lives and who dies and after using it for a bit of revenge decides to use that power in a messed up Punisher/avenging angel sort of way. Helping Light with the killing is Ryuk, a demon like being voiced by Willem Dafoe. Sadly Dafoe delivers a performance that sounds like that of his iconic spin as the Green Goblin in Spider-Man and thus had me envisioning that for everything. Also involved is actress Margaret Qualley as Mia Sutton who Light brings into his world and becomes corrupted with the power. We never get a good sense on her other than she becomes a temptress in a shallow character that should be so much more. We’ll also ingore the idiotic romance that just doesn’t fit and shoehorned in.

Directed by Adam Wingard, Death Note is tonally all over the place with a beginning that feels a bit like a comedy reminscent of Raimi’s Army of Darkness and by the end it feels like a messed up Degrassi along with acting that’s just a shade better than a made for tv movie. Basically, I can’t tell what was being gone for here. Is this a horror film? Is this a comedy? Is this a horror comedy? Is this a superhero horror comedy? The film shifts through all of this and never decides what it’s identity truly is. By trying to be everything it comes off as nothing much.

Things aren’t helped by actor Lakeith Stanfield whose “L” is beyond comedic in a performance that I’m pretty sure is not meant to be. Stanfield’s “L” is supposed to be more like Brad Pitt in Se7en (my take) but comes off as a background character in Hackers with a twitchyness about it all and a lack of sleeping. It’s hard to take any scene the character is in seriously. Paul Nakauchi as Watari feels a bit wasted but Shea Whigham as James Turner stands out among the bunch with a performance that feels natural and authentic. Whigham, the best of the bunch in acting, feels like he’s in a different film with his performance. Again a tonal mess.

What’s sad is there’s tons of potential here and you can see it touched upon over and over. The concept of vengeance, the people worshiping this avenging angel, the twists and turns, it’s all there for a thought provoking story. Instead we’re dealt with a half assed comedy horror whose ending is so convoluted you wonder when the characters became that intelligent and why they weren’t doing that to begin with.

With so much other quality things debuting this summer to watch, this is a Death Note that should be added to its own book and put out of its misery.

Overall Rating: 4.0

Review: Josie and the Pussycats #9

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Josie#9With maybe a few too many guest stars, a couple giant mechas, and a truly heartfelt ending,  Marguerite Bennett and Cameron DeOrdio’s Josie and the Pussycats run wraps with okay guest art by Kelsey Shannon and flawless colors from Kelly Fitzpatrick. Most of the issue is a giant chase sequence featuring Josie, the Pussycats, and basically every character who has appeared in this comic chasing DJ Quiplo and the Doc Charles Gang, who have kidnapped their opener/sales saving guest stars the Archies.

My biggest issue with Josie #9 is Bennett and DeOrdio is dusting off a character or “forgotten friend” (Pepper), who hasn’t appeared since the first issue and making her almost the center of the story. It’s kind of cool that there are callbacks to issue one in the final issue, but there is no setup for this development beyond a quick mid-issue plot twist and the fact that, again, every character who has appeared in this volume of Josie and the Pussycats appears in this issue. It feels more like a clipshow that a genuine emotional moment even though having an electric cello player join the Pussycats is pretty badass. Pepper’s appearance seems rushed, and the fact that she’s been left behind the whole series is brushed over with jokes and cute pets. It’s also feels like Valerie and Melody’s arc getting put on the sideline for her guest appearance, and there’s no mention of, say, Valerie’s inner conflict about being in the Pussycats for artistic reasons versus commercial reasons.

However, one story beat that Bennett, DeOrdio, and Shannon really stick the landing on is repairing the friendship between Alexandra and Josie and doing it with style. Alexandra’s “thing” with Alan M is getting pretty complicated, especially since he’s the Pussycats manager and had a fling with Josie in previous issues. (Still working on this.) In the past, Josie and Alexandra would have been passive aggressive about this, but thanks to the power of character development, they talk it out while encased in exosuits straight out of Ultraman. Thanks to Alexandra’s presence in most issues of the series and the real selling of her and Alan M’s romance last issue, the reunion between her and Josie definitely feels earned. I was definitely smiling when they texted each other brunch plans.

Along with Audrey Mok’s fabulous eye for fashion that Shannon ably replicates in this issue, the thing I will miss most about Josie and the Pussycats is Cameron DeOrdio and Marguerite Bennett’s scripts that are filled to the brim with clever pop culture references, meta gags, and just happen to be flat out hilarious. One line of dialogue, like calling DJ Quiplo’s EDM themed henchmen “WicDiv rejects” because they wish they were as fuckboy as Woden, could create a direct path between my eye and my funny bone. The Archies also fit in nicely as comic relief in Josie #9 with a nod to Reggie’s roots as a greaser when he tries to get out of ropes by using a comb a la Outsiders, or him, or the kidnappers’ priceless reaction when they realize that they forgot to confiscate Veronica’s cellphone.

AwkwardFace

Shannon is pretty badass at drawing vehicles and also slays on the double page spreads featuring Josie and Alexandra’s Megazord mecha things. Her faces are a little weak though. For the most part, this doesn’t hurt the story, but it’s a little hard to read Josie’s reaction when she and Alexandra have their *important* conversation about their friendship and Alan M. Is she angry, cool with it,  just plain indifferent, or pulling a weird face? The dialogue confirms that they’re friends, and that Alexandra still wants to pursue Alan M romantically, but Shannon’s art isn’t as expressive as Audrey Mok’s. But her chase scenes are high energy, and the bright yellow and orange backgrounds that Fitzpatrick uses add the artistic equivalent of nitrous to them.

Josie and the Pussycats #9 is a mixed bag plot and Pepper-wise, but Marguerite Bennett, Cameron Deordio, Kelsey Shannon, and Kelly Fitzpatrick include a lot of what made the series so great, including clever humor, exhilarating setpieces, and a focus on female friendship. It’s fitting that the comic ends in one big, adorable sleepover reminiscient of scenes in the fantastic 2001 Josie and the Pussycats film, but without Bullseye the Target dog mascot as a guest.

Story: Marguerite Bennett and Cameron DeOrdio Art: Kelsey Shannon Colors: Kelly Fitzpatrick
Story: 7 Art: 7 Overall: 7 Recommendation: Read

 Archie Comics provided Graphic Policy with a FREE copy for review

Review: Iceman #4

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ICEMAN2017004_covFinally, Iceman gets a little sexy in issue where writer Sina Grace, artists Edgar Salazar and Ed Tadeo, and colorist Rachelle Rosenberg have Bobby bump into Wolverine’s mad, bad, and dangerous to know bisexual son Daken while he’s trying to rescue his rebellious student, Zach, from a members only nightclub. Up to this point, Grace has mainly focused on Iceman’s attempts to come out to his parents and hasn’t had him get into any romantic situations with other men. This is why it’s super nice (and hot) to have him flirt and fight with Daken, who isn’t the best influence on Zach, a mutant that can mess up with electronics and isn’t a fan of the regimented life style at the Xavier School.

Iceman #4 is one of the better structured issues of the series with Grace connecting its plot to a previous adventure while throwing in a splashy guest star, some fantastic action, and some real talk about Iceman’s insecurities and faux confidence. He’s supposed to be a teacher, but is still working on his own issues, like coming out as an adult and not reaching his potential when it comes to his ice abilities. Grace doesn’t go as far as painting the X-Men as evil, but he does demonstrate that their almost paramilitary approach to working with young mutants isn’t the best fit for everyone.

Maybe, some mutants don’t want to fight Apocalypse and just want to dance, play video games, and have a good time. (A partnership with Patsy Walker’s superpowered temp agency would easily solve this problem and also give an excuse for bi bae Ian Soo to appear in Iceman.) It’s honorable that Bobby wants Zach to be able to control his vast powers, but threats and lectures aren’t his style, and the teen can see through him saying that he’ll carry him out of the club in ice handcuffs. Later, in Iceman #4, a skewered-by-ice Daken offers some much needed snarky, yet constructive criticism about Bobby’s approach to leadership and teaching. Basically, Bobby is talking at Zach and not having a discussion about how he feels, like when Bobby makes snide comments about Zach’s Internet friend. Iceman is hella insecure in general with his emotions veering closer to his pal, Human Torch, and not his cool exterior. And he’s going to go supernova metaphorically when his parents show up at the X-Mansion unannounced at the end of the comic.

DakenIcemanHot

Edgar Salazar and Ed Tadeo’s art isn’t the flashiest, but it’s easy to follow, especially the action scenes which have clear moves and motivations. Daken has a healing factor so Bobby doesn’t have to hold back and executes a killer finishing move that plays off Daken’s pet name for Bobby featuring a cool metallic sheen from Rachelle Rosenberg. Also, Salazar and Tadeo’s figure work is quite attractive and seems tailor made for the bisexual gaze aka people who have crushes on both Kitty Pryde and Iceman like yours truly instead of awkward, how is that even a human being 90s inspired superhero art. The cherry on top of the sundae that is Bobby Drake in a white tux is Daken, who is a true homme fatale, and in Salazar and Tadeo’s hands, his ice abilities turn into a kind of sort of metaphor for Iceman possibly being sexually frigid. However, dating and sexy stuff after coming is a real maze to navigate so I also like that Grace, Salazar, and Tadeo are slowly easing Bobby into the world of romance and sexy times.

Some of the dialogue is cheesy, but Sina Grace, Edgar Salazar, Ed Tadeo, and Rachelle Rosenberg make Iceman #4 one of the more memorable issues of the series by adding a hint of sexual tension in the interactions (and action of the mutant powers sort) between Daken and Iceman.  Also, Zach running away exposes some vulnerabilities in Iceman beneath his dad joke making, Disney movie referencing, and ice golem hurling exterior.

Story: Sina Grace Pencils: Edgar Salazar Inks: Ed Tadeo Colors: Rachelle Rosenberg
Story: 8.5 Art: 7.5 Overall: 8.0  Recommendation: Buy

Marvel Comics provided Graphic Policy with a FREE copy for review

Review: X-O Manowar #6

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xo 6 preorderFrom the bloodied battlefields to the highest seat of imperial power, there is something rotten in Aric of Dacia’s new home… With an entire planet in turmoil, the mighty warrior once known as X-O Manowar can trust no one, especially those he holds dearest. But will the former hero of Earth rise and become the champion of his adopted planet…or will his growing horde of enemies crush him where he stands?

Apologies for the slightly later review than normal, folks, but I wanted to do something different than I typically do with this series; read the print copy first because I subscribed to the preorder bundles from my LCS but I haven’t actually done much more than admire the exclusive covers (an example to the left) and flick through to see a couple of pages that caught my eye on the review copy because Doug Braithwaite‘s uninked art is utterly fantastic, and the review copy doesn’t do justice to Braithwaite’s work nor the colours of Diego Rodriguez.

XO2017_006_002

So I wanted my first read through to be on the print copy purely because of the art – and I was not disappointed.

Although this issue is a little slower in pace than some of the previous issues, it allows Matt Kindt to build toward a rather significant payoff next issue (and it’s one that you’ve been waiting for) whilst showing the kind of tactical mind that Aric of Dacia Urth has. The six issues we’ve had thus far in the series have been a great exploration of the man without the armour for us readers, but also for Aric as he discovers what kind of man he is without the sacred armour of Shanhara.

X-O Manowar #6 continues with this deep dive into the title character set against a spectacular intergalactic conflict that’s complex enough on it’s own to hold your attention without watching our hero on his internal journey. It’s truly compelling stuff, and while you’ll get a lot more from this issue if you’ve read the previous five issues, you can still pick this up and enjoy the comic in your hands.

Ultimately, if you want to get your hands on a wonderfully illustrated character driven story then you could do a lot worse than X-O Manowar.

Story: Matt Kindt Art: Doug Braithewaite Colours: Diego Rodriguez
Story: 8 Art: 9 Overall: 8.75 Recommendation: Buy

Valiant provided Graphic Policy a FREE copy for review, but my LCS sold me a copy anyway.

Review: Hi-Fi Fight Club #1

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Hi-Fi Fight Club #1 is an adorable and queer as heck new comic from the BOOM! Box imprint, which has kind of become the Sub Pop Records of comics with fantastic books like Lumberjanes, Jonesy, and Giant Days. Well, you can add Carly Usdin, Nina Vakueva, Irene Flores, and Rebecca Nalty’s new comic set in 1998 about the employees of Vinyl Mayhem aka “the coolest record store in town” that is actually a front for a vigilante fight club. The story is mostly told from the POV of Chris, “the new girl”, who is rolling ball of enthusiasm about music (especially Rosie Riot of Stegosour), copyright friendly X-Men comics, and has a huge crush on “literally the cutest” Maggie, who Vakueva and Flores draw in a shoujo manga style. It’s a slice of life period piece about young love, growing up, and being passionate about shit that dips into the vigilante genre towards the end in a fairly grounded way like her co-workers training by kicking boxes in the backroom.

Passion with a side dish of awkwardness are the defining characteristic of Chris as a character, and Usdin, Vakueva, Flores, and Nalty bring this out through the writing, art, and colors of Hi-Fi Fight Club #1. The interactions between Chris and Maggie are as sweet as the synths on a 2010s Tegan and Sara single and have all the hallmarks of a co-worker crush beginning from the winks in the locker room to “accidentally” working the same shift. I also like how Usdin has Chris work out her queerness in regardness as she’s a little hesitant to make a move on Maggie because she doesn’t know if she likes girls or not. However, calling Rosie Riot (Think Hayley Williams meets Joan Jett.) a babe kind of makes her a little more comfortable. Usdin goes beyond a rote coming out story and goes for the fun, gushy romance, which is a breath of fresh air.

Chris is still really klutzy and fangirl-y around everyone as she is trying to find her identity through music and the record store like her co-workers Goth queen Dolores, music encyclopedia and mansplaining shutting down Kennedy, and her manager Irene, who is arguably the most mature 24 year old in fiction as she pulls off crop tops effortlessly while running a record store and a secret fight club. Along with the romance subplot, it’s Chris’ struggle with finding her identity on the edge of seventeen that propels the story, not just the missing rock star plot. She is at a weird, transitional period in her life where she has some adult responsibilities like a job yet still finds her parents annoying and is overwhelmed by the world around her. This can be negative, like her being late for work or getting in a bike accident, but her view of her co-workers, Stegosour, and Vinyl Mayhem contact stimulates even the most cynical reader.

Hi-Fi Fight Club  combines the crazy speed lines and expressiveness of manga inspired art, like Chynna Clugston Flores’ Blue Monday  or Karl Kerschl’s Gotham Academy, with gorgeous, wavy lines used by artists like Emma Rios. Irene Flores’ inking is fluid, not rigid, which goes while the freaked out expressions and big eyes do a nice job selling the fact that Chris is always on high alert, especially around her crush Maggie. Rebecca Nalty rounds things out and enhances Nina Vakueva’s impeccable late 90s fashion sense for each character by matching a color to each member. Red and later a garish orange are Chris colors’ and match her passion for the store, trying to play guitar well enough to be a band, Stegosour, and life itself. Obviously, the Goth Dolores gets black, and Maggie gets this lovely powder blue that complements her kindness and Chris’ feelings for her. Kennedy and Irene get nice earth tones to go with their knowledge and purity.

Even though it features a top secret vigilante organization, Hi-Fi Fight Club #1 is a fairly down to Earth book about teenage crushes, geeking out over bands, and little, relatable moments like dropping your Walkman CD player and being happy when the music doesn’t stop. Writer Carly Usdin makes Chris one of the most infectiously likable protagonists in comics while the art team of Nina Vakueva, Irene Flores, and Rebecca Nalty nail the cool, indie slice of life comic with a touch of shoujo manga visual style of the book.

If you ever had a secret teenage crush or fell head over heels with a band, artist, or genre of music (Aka most human beings.), you should pick up Hi-Fi Fight Club #1.

P.S. It’s a little weird for me to be the same age as the “oldest” character in a teen comic…

Story: Carly Usdin Pencils: Nina Vakueva Inks: Irene Flores Colors: Rebecca Nalty
Story: 10 Art: 9.5 Overall: 9.8 Recommendation: Buy

BOOM! Studios provided Graphic Policy with a FREE copy for review

DC Weekly Graphic Novel Review: Wonder Woman Vol. 3 The Truth

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It’s Wednesday which means it’s new comic book day with new releases hitting shelves, both physical and digital, all across the world. This week we’ve got Wonder Woman!

Wonder Woman Vol. 3 The Truth collects issues #13, 15, 17, 19, 21, 23, and 25 by Greg Rucka, Renato Guedes, Bilquis Evely, and Liam Sharp.

The trade is in comic stores today August 23 and book stores August 29.

Get your copy now. To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

Wonder Woman Vol. 3 The Truth
Amazon/Kindle/comiXology or TFW

 

 

DC Comics provided Graphic Policy with FREE copies for review
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