Category Archives: Reviews

Review: Booster Gold/The Flintstones Special #1

Welcome to the 25th century, where the Earth is a polluted post-industrial nightmare, most animals are extinct, and reptilian aliens are invading cities across the planet! In their time of need, the world’s citizens turn to the time-traveling Booster Gold to save the day. To learn why these aliens are seeking revenge, Booster dives deep into the prehistoric past to see what happened the last time they hit the planet. In this bygone era, Fred Flintstone and Barney Rubble must help Booster learn the truth and return to his own time armed with the information that will bring down the invaders – if Booster can convince them to help him. No problem – we all know how persuasive Booster can be, right? Right?!

And in the backup feature starring The Jetsons, in a new twist on an old twist about our future, The Jetsons live in a world of robotics and gadgetry. But how does dying change when grandma’s brain can be digitally imprinted onto a housecleaning robot?

I haven’t read a whole lot of Booster Gold over the yeas, but Mark Russell‘s The Flintstones is some of the smartest writing in comics today. So, to see what Russell had in store for this superhero Hanna-Barbera mash-up was something I was really looking forward to when this series was announced. And, as expected, the delivery is subversive, smart, and really subtle. Part of the fun of Russell’s writing is that it’s packed with social commentary and interesting winks and nods without it being super overt. To discuss one topic, Russell at times will distract with another, or a different angle that the main discussion is obfuscated a bit.

Here, a load of issues are packed in with the most in your face being mankind’s destruction of the planet. There’s also exploiting religion, dating, gentrification, and some white savior moments all thrown in for a comic that’s packed with crazy. And that crazy is what makes it fun because as Russell packs all of that into a single issue, he also does so in a way that you can read the story and just enjoy it as a story and nothing else.

The art by Rick Leonardi is solid mixing the futuristic world of Booster Gold with the Flintstones setting and making it all work. The art style somehow works with both settings and it’s fun. Leonardi’s art is interesting because it not only works for the two time periods but it also enhances the comedic beats of Russell’s writing. Russell’s delivery often plays to visual jokes and that relies on the art and Leonardi delivers that and some. Through every step of the comic the visuals are part of the joke and entertainment and beg you to linger to catch everything.

The Jetsons also are present with a backup feature from writers Jimmy Palmiotti and Amanda Conner with art by Pier Brito. Crazy is the best way to describe this with a ending that I didn’t see coming (seriously, was this ever a part of the cartoon series?). The issue is kind of melancholy in some ways and then there’s this punch at the end that turns it all into either horror or a statement on technology or this really sweet thing. Days after reading it, I’m still debating which of those it is. Brito’s art is a solid depiction of the classic world. The style isn’t an exact replica of the cartoon, but it’s a solid homage and new artistic take on the characters. With the little we got, I know I definitely want to read more.

This is a solid issue with the crazy humor of Russell mixed in with an interesting take on the Jetsons. Together, this is one to pick up and has a lot of depth mixed in with the humor.

Booster Gold/The Flintstones

Story: Mark Russell Art: Rick Leonardi
Story: 8.45 Art: 8.15 Overall: 8.45 Recommendation: Buy

The Jetsons

Story: Jimmy Palmiotti and Amanda Conner Art: Pier Brito
Story: 7.85 Art: 8.05 Overall: 7.90 Recommendation: Read

DC Comics provided Graphic Policy with a FREE copy for review

Review: Adam Strange/Future Quest Special #1

After the events of the Death of Hawkman miniseries, Adam Strange is blasted through multiple dimensions only to land on Earth! There, instead of super-powered beings and legendary crime fighters, he encounters a boy adventurer and his scientist father – and they’re the only ones who can help him return home. Jonny Quest, Hadji, Dr. Quest and Race Bannon have a plan, but it’s going to involve a dangerous trek through Dino Boy’s Lost Valley of prehistoric threats! And in the backup feature starring Top Cat, breaking out of prison is challenging enough for a cat, but sometimes it means stumbling through a cosmic portal to planet Earth… and right into the hands of Batman!

And in the backup feature starring Top Cat, breaking out of prison is challenging enough for a cat, but sometimes it means stumbling through a cosmic portal to planet Earth… and right into the hands of Batman!

Two stories with very different styles and characters, the first brings Adam Strange to the world of Future Quest in a cute and simple tale that feels like strange epilogues to both the Future Quest series and The Death of Hawkman. The comic is fun with a good mix of the vibe built in Future Quest and a little bit of flavor of the main steam DC Comics universe. Writers Marc Andreyko and Jeff Parker blend the two and it works, though the story a feels a bit paint by numbers (heroes fight due to misunderstanding type of thing). But, Andreyko and Parker spin it into some fun, especially watching Strange trying to figure out what’s going on and seeing this DC Character set in Hanna-Barbera world.

The art by Steve Lieber is pretty good, though I admit I miss Evan “Doc” Shaner’s art from Future Quest. Things aren’t bad at all and Lieber’s style for this plays off of the fun action packed aspect of the issue. It’s a departure of that classic Hanna-Barbera style, though close to it. It’s good though and fits really well to the story.

The issue has a back-up story featuring Top Cat and it’s really interesting. It’s very short and is a prologue in so many ways, but what’s done with the few pages is entertaining and somehow works.

Written by Dan DiDio the story brings Top Cat to Gotham and is just a straight up origin tale as Top Cat tells Batman how he got to the city. It’s entertaining and is a solid lead in to further stories, but that’s the thing, if there’s nothing else, you wonder if something else could have been done. And, whatever is to come, will it be in Gotham!? It’s an interesting choice and the story is decent though nothing amazing. What is entertaining is reading DiDio’s take on the Batwoman/Catwoman relationship as there’s some solid digs.

While I wasn’t blown away by the story, the art is pretty solid at points. I really enjoy Phil Winslade‘s style for this which has an almost New Yorker-ish look to it. Top Cat’s world is what really stands out to me, but Batman and Catwoman don’t work as well. It’s interesting because the art style works so well in Top Cat’s world, but when in Gotam, things aren’t quite as visually interesting.

Overall, this is a mixed issue and sets up some interesting things for the future. It’s really cool that the Adam Strange Future Quest aspect of the issue takes place post both of their stories. That’s really smart and makes this one shot feel that much more important. But, the story itself doesn’t bring a lot that’s new or different, like their series before did. It also feels like it sets up something for the future, which Top Cat does as well. It’s an interesting concept overall with these two mash-ups, but neither quite feels like it lets loose in the ways I expected.

Adam Stange/Future Quest

Story: Marc Andreyko and Jeff Parker Art: Steve Lieber
Story: 7.45 Art: 7.65 Overall: 7.50 Recommendation: Read

Top Cat

Story: Dan DiDio Art: Phil Winslade
Story: 7.0 Art: 7.15 Overall: 7.0 Recommendation: Read

DC Comics provided Graphic Policy with a FREE copy for review

I’m Watching Iron Fist So You Don’t Have To: Episode 2 Shadow Hawk Takes Flight Recap

If you missed my recap of Iron Fist E1: “Snow Gives Way,” you can read it here. If you want a five-second recap, know that Danny Rand’s parents died in a plane crash. Danny didn’t. He spent 15 years training as a warrior, and has now come back to New York. The Meachum family, the other shareholders in the Rand company, are not happy about this.

Okay. Let’s do this.

Danny wakes up strapped to a bed in a psychiatric hospital, where he definitely doesn’t want to be. A man named Simon poses as a doctor and attempts to convince Danny to kill himself. I’m glad my alarm clock doesn’t have a “stab” feature.

Over at the Meachum office, Ward asks Joy to help him buy some warehouses and she agrees. They debate the morality of throwing Danny into a psychiatric hospital; Joy feels a nagging sense of guilt that he might actually be Danny Rand, but Ward convinces her that they’re not the bad guys because Danny was dirty and shoeless and couldn’t possibly be Danny. Or something. The dialogue in this show leaves much to be desired.

In the hospital, Danny has been cleaned up and force-fed drugs, though his beard remains woefully untrimmed. He tries to meditate in order to focus his chi, but is having trouble with his inner self because of the drugs. He speaks to a doctor, who encourages him to make the best of his time in the hospital. Danny recounts the plane crash in greater detail, saying that after he discovered the wreckage he was rescued by monks. The doctor asks him who John Anderson is, and shows him a passport bearing that name that was turned in with Danny at the hospital.

Back in the real world, Colleen is being followed. She beats up four attackers and berates them for performing poorly–it’s a training exercise. There’s not much of a point to this scene other than demonstrating Colleen’s martial arts skills and teaching style, but it’s a nice character showcase.

In the hospital, an aide pairs Danny off with Simon, who shows him around the hospital and introduces the other patients. Danny optimistically points out that he’s going to be released in 72 hours, and Simon says that’s what everyone else was told, but they were drugged repeatedly and most have been there for years. When a patient attacks Danny, he is blamed, strapped to a bed, and drugged again.

Simon frees him and Danny sneaks off to use the phone, where he calls Colleen. Colleen, understandably, has qualms about finding a way to free him, having only met him twice. Even though she saw him get attacked, she doesn’t quite believe that the entire city of New York is out to get Danny.

Ward Meachum visits his father. Ward’s dad’s name is Harold, but he’s played by Faramir with short hair. Faramir has placed cameras in Danny’s hospital room, so they know everything he has said. They discuss the validity of Danny’s story, and know that Danny was rescued by monks of the Order of the Crane Mother. They know about Colleen. Ward suggests a lobotomy. For a self-proclaimed “not a bad guy,” Ward is a pretty bad guy.

Danny, no longer strapped to the bed, meditates. Viewers keep getting flashes of a robed Danny, sitting on the mountain. The doctor comes back and Danny tells him that the passport was stolen, bought in Morocco so that he could return to the states. It’s looking like the next part of Danny’s Convince ‘Em Plan is to fly under the radar and escape.

Ward pays a visit to Colleen’s dojo. He tells her that Danny is threatening his sister and him, and asks if she has had contact with him and if he has threatened her. Colleen says that threatening her is a mistake, which, based on the practice scene, is true. Ward asks her to sign papers saying she felt threatened by Danny so he can stay in the hospital and offers to give her a grant–a grant that she desperately needs to keep her business open.

Okay. I was wrong about Danny’s plan. In his next session, the doctor shows him a commercial with the Rands. Danny recalls what they did after the commercial was filmed, declares himself to be Danny Rand and not John Anderson (again) and dramatically sweeps everything off of the doctor’s desk. He is very much on the radar.

At Meachum HQ, Harold Meachum is beginning to think Danny might be the real deal. Danny’s doctor calls Joy to verify a memory that confirms Danny’s identity. Harold visits Danny, who is still drugged to the gills and strapped to the bed, and sings him a mildly threatening song about death. Danny describes his training at K’un-Lun. He trained as a warrior there and became the Iron Fist, the sworn enemy of The Hand.

All of this information seems extremely interesting to Harold, who continues to act like a modern/corporate alternate universe Denethor.

Harold returns to his penthouse to find “Where did you go?” written on the outside of his window, the outside of the window being at the top of a skyscraper. This moment is either meant to introduce another antagonist–one with a powerful hold over Harold, who maybe doesn’t leave the building for a reason–or it’s a bizarre lead-up to the Spider-Man reboot. One for the mystery board.

Joy is starting to think that Danny might also be the real Danny, and plans to verify this with a bag of M&Ms. She has a case of those big bags of M&Ms stashed in her office cabinet, which is admirable and also not what I assumed office cabinets are used for.

As the other Meachums separately verify Danny’s identity, Ward visits Colleen’s dojo again. Poor Colleen. She didn’t ask for men to harass her at her place of work on the daily, and yet, here we are. Once again, Ward offers her $50,000 if she signs papers saying that Danny harassed her, and Colleen says she’ll think about it.

Danny receives Joy’s bag of M&Ms and works on sorting out the brown ones, which I guess works as a plot device but like, they all taste like chocolate, man. Danny is then interrupted by a visit from Colleen. He tells her about the drugs and his connection to the Rand company, and she tells him how Ward is trying to bribe her. They form a fragile alliance and Danny sends Colleen to Joy’s office with the bag of M&Ms, sans brown ones.

Seeing the lack of brown M&Ms, Joy bursts into tears and realizes that the dirty, shoeless stranger is Danny. Ward walks in on Joy crying over a pile of candy and finds his papers from Colleen sitting on the desk, unsigned, which makes him very angry. He and Joy have a tense conversation about Danny’s future. Ward is insistent that Danny stay in the hospital, and Joy isn’t thrilled about that.

In the hospital, Danny makes a plea for his release. It doesn’t go well.

The Meachums, independently convinced of Danny’s identity, make a plan to move him–Harold wants him alive, to be used for gain. It’s like they say: You either die a Faramir, or live long enough to see yourself become a Denethor.

The plan involves putting a straightjacket on Danny and beating him to a pulp first. The repeated hitting apparently clears his head enough that he’s able to access his glowy fist powers. Danny punches his way out of the hospital, and the episode ends.

As with the pilot, this episode had some highlights, but they’re buried in awkward dialogue and drawn-out scenes. Danny is occasionally likeable, but I find it difficult to take him seriously when he goes from kind and goofy to talking very seriously about being a warrior. Danny defies traditional soldier stereotypes, which in a stronger story would be a neat trope subversion, but in this story is confusing. Most of the details we know about K’un-Lun are that it exists in another dimension and corporal punishment is regularly employed.

Despite 15 years (15! More than half his life!) of training, Danny’s fighting scenes give me pause about the teaching skills of those in K’un-Lun. Sebastian Stan transitioned from saddest boy in a drama to fighty action man quite well; Finn Jones, not so much. Something really clicked for me when I read that Jones was reportedly learning his fight sequences and filming them immediately. They’re clunky and edited weirdly, even in the 30 seconds of fighting I’ve seen so far. You can’t tell, but I’m thinking longingly of Lewis Tan. We could’ve had it all and all of that.

Even though the cast was announced more than a year ago, everything about the show feels rushed, from the cheesy dialogue to the Meachums’ villainy to the fight scenes. My hope for the next episode is that we see a clearer plot direction and that someone finally trims Danny’s beard, please. The plot thing is secondary to my desire for tidy facial hair if you were wondering.

Until next time.

Review: Orphan Black: Deviations

If you’re a die-hard Orphan Black fan who is already having withdrawals—even before the fifth and final season comes out—fret no more. IDW Publishing’s Orphan Black Deviations #1 will curb your cravings, as it’s set in an alternative world based on the original series, where Beth never steps off the Subway platform because Sarah is able to save her—leaving the sisters to meet under entirely different circumstances.

The story, written by Heli Kennedy, effortlessly covers all of the bases, so whether you’re a part of the Clone Club or not, readers can easily follow the many intricacies of the world without thinking twice. Kennedy, a screenwriter as well, shows her experience through tackling a perfect pacing and giving us all the information one would need without seeming like too much.

The art, by Wayne Nichols, captures the darkness of the series. The style portrayed is masterful and refreshingly unique. I wasn’t sure how I felt about it at first but it grew on me. I learned to appreciate each detail that one might be tempted to gloss over and I slowed down on each panel to admire its satisfying detail.

Overall, as a fan of the original Orphan Black series, I’m left wanting to read more. Although one might be able to feel where the story will go if they’re caught up on the television series, it’s still intriguing to see how everything will play out with the assistance of Beth and Mika from the start. This is only supposed to be a set six-issue miniseries, but one can hope if it goes well we might see more.

Story: Heli Kennedy Art: Wayne Nicols Cover: Cat Staggs
Story: 10 Art: 10 Overall: 10 Recommendation: Buy

IDW Publishing provided Graphic Policy with a FREE copy for review

Review: Divinity III: Stalinverse #4

DIVINITY-III_004_VARIANT_GORHAM

The world has gone red, and now the epic final confrontation begins as Divinity, Ninjak, Shadowman, Komandar Bloodshot, X-O Manowar, and the Red Brigade all choose their side on the lines of the coming battle… Wait, you think we’ll tell you how this one ends? Nyet, comrade! The universe as we know it hinges on this, so make sure you read this one first, Valianteers!

If you’re reading this review to decide whether it’s worth picking this story up in trade when it’s released, but haven’t yet read any of the three previous issues, then your answer is yes. Yes, this is absolutely worth picking up in trade, because Divinity III: Stalinverse  #4 is an incredibly strong conclusion to an already fantastic story.

Skip down to the ratings if you want to, because there will be minor spoilers for the story from here on out.

Perhaps one of the most interesting aspects to Abram Adams, the original Divinity, is that he’s more interested in solving problems without using his godlike powers – although that preference did result in him losing his head last issue – which gives Divinity  a recurring thread that’s quite unlike many other publisher’s major crossover stories of late; that sometimes violence doesn’t solve everything.

That’s not to say that there isn’t a climactic battle this issue, but rather that’s not where the comic’s focus is – this is a story about Divinity, and not just another typical superhero fighting miniseries. There’s a spectacular sequence where two characters are having a verbal meeting of the minds, a meeting that’s a fantastic read, but it’s the mind bendingly beautiful artwork of Trevor Hairsine and the rest of the artistic team that elevate the sequence to the next level. If you want an example to show to your friends of a story that exemplifies, and indeed transcends, the comic book medium, then look no further than Valiant‘s Divinity.

The overarching Divinity story is the rare story that explores the nature of power and responsibility on a grand scale, while bringing the internal conflict of the three godlike cosmonauts down to a very human level in such a way that enables you to actually empathize with gods.

Divinity III: Stalinverse #4 is so much better than I expected it to be – rarely have I read a story that concludes as strongly as this did.

Story: Matt Kindt Art: Trevor Hairsine
Inkers: Ryan Winn with Alisson Rodrigues
Colourists: David Baron with Allen Passalaqua
Story: 9.5 Art: 9.75 Overall: 9.5 Recommendation: Buy

Valiant provided Graphic Policy with a FREE copy for review, but as with previous issues, I’ll be buying this myself.

DC Rebirth Recap & Review: Comics Released 3/22

Welcome to Graphic Policy’s DC Rebirth: Recap And Review where we take a look at the comics released under DC‘s Rebirth banner and try to work out just how accessible they are for new readers – we’ll also be providing  recap of sorts for the relevant story beats up until the issue in question in order to help you figure out if the series is something you’re interested in.

Each comic will receive a rating of Friendly or Unfriendly based on how easy it was for

new readers to pick them up; the ratings are based solely on the issues released in the post-Rebirth ongoing series. More consideration regarding the comic’s accessibility will be given for the specific issue being read rather than the series overall, but if reading a back issue will help, then that will be mentioned. Generally, the quality of an issue won’t be discussed unless it directly impacts a new reader’s enjoyment of the series.

You may notice that not every comic is covered week to week, and that’s because I  sometimes forget to read them  (although that doesn’t happen often). If I have missed an issue, typically I won’t go looking for back issues to catch up on events – this feature is all about accessibility for new readers, after all.


AC_Cv976_dsAction Comics #976 “Right now, everything is so bizarre… that it’s hard to tell what’s real and what’s not.” I’m going to let the opening of the comic speak for the recap, but you should still check the fourth part of the Action Comics/Superman crossover out.

Batman Beyond #6 The first part of a new arc that also neatly explains the previous story in bits and pieces is, as you should expect, quite Friendly.

Batgirl #9 I… don’r remember the last issue at all, and I think I missed it completely (don’t quote me on that). That said, this week Batgirl #9 will be judged entirely on  this issue, and it’s easy to read nature makes it quite Friendly.

Deathstroke #14 Another excellent issue that is tough to follow. Although I feel like I’m beating a dead horse here, you’re better trade waiting for this otherwise Unfriendly issue.

Detective Comics #953 The attack on Gotham that has been hinted at since Detective Comics relaunched happened a couple issues ago, and Batman wasn’t as ready as he’d have liked. There’s a scene in the beginning of the comic where Jim Gordon is brought up to speed that’s a very effective, and brief, recap for the story thus far making this comic Friendly enough on it’s own.

The Flash #19 Even though the last issue only came out two weeks ago, I don’t remember too much about it beyond the fact that The Flash is stuck working with Captain Boomerang who may or may not have been on a solo Suicide Squad mission (I may be wrong, but I can’t remember and won’t go back and check). That being said this is a really good, and Friendly, comic.

HJGLC_Cv17_dsHal Jordan And The Green Lantern Corps #17 After the craziness of the last issue, you’d be forgiven for thinking that this issue wouldn’t be the best place to jump on board… but it’s actually really Friendly, complete with it’s own moments where it fills in the gaps for you throughout the issue.

Suicide Squad #14 Somebody killed Amanda Waller, one of her enemies turned off the Suicide Squad’s brain bombs, Deadshot turned on the Squad and Boomerang murdered somebody. None of that does justice to the story itself, but it’ll get you more or less up to speed with this barely Friendly issue.

Teen Titans #6 A new arc commences that looks like it’ll introduce a water themed hero to the team, complete with an almost forced recap about the characters and their powers, make this a Friendly comic.

Wonder Woman #19 This series has had two stories running through it in alternating issues since the beginning, and while it was fairly easy to keep track of each story when Year One was being told, because both concurrently running stories are similar enough in setting I’m having  hell of a time keeping both separate in my head. Anyway, The Truth finds Diana in an institution following a perceived mental break down, and  minotaur named Ferdinand has gone to get her out. I’m not sure whether this would be Friendly with a decent recap or not at this point.

Supergirl S2E17 “Distant Sun” is an Intergalactic Escapade

So, writers Gabriel Llanas and Anna Musky-Goldwyn and director Kevin Smith (If it’s not obvious from the quite clever Star Wars reference in the third act.) achieve the impossible and make a Mon-El-centric episode compelling thanks to some royal intrigue, bounty hunters, and super fun action scenes. Smith lines up some great sequences from a cold open pitting Supergirl against a fellow heat vision alien; Supergirl, Guardian, and Winn teaming up to take out a bald, mind control alien, and a Big Kahuna of a final brawl featuring Martian Manhunter. Other highlights, include Rhea, played by an icy and intimidating Teri Hatcher, rising up to true villain status, a strong subplot featuring Alex and Maggie working out some emotional baggage with Maggie’s ex-girlfriend Emily (Hayley Sales), and Martian Manhunter continuing to be a great father figure and even standing up to the president of the United States herself. There’s even a decent plot twist, and Llanas, Musky-Goldwyn, and Smith set up the pieces that will likely be knocked down after a month hiatus.

After spending the last episode tangling with Mon-El drama and showcasing her golden pipes in “The Duet” The Flash crossover episode, Melissa Benoist is back to being moral, a little bit goofy, and well super as Supergirl. (And Mon-El knows his place: the kitchen.) Smith shows this early on as she immediately leaves a scrumptious breakfast spread to save some innocent citizens from a heat vision wielding alien bounty hunter and shields them with her own body. When it’s revealed that someone has put a bounty on Supergirl’s head, she constantly bristles to go back into action, but decides to lie low and play Settlers of Catan so no one gets hurt in the crossfire. Supergirl will even fight a close quarters battle against her boyfriend’s kryptonite sai wielding mom to save the man she loves and protect Earth from the threat of a xenophobic alien monarchy that put out a bounty just so their crown prince would return to their ship. There have been plenty of Mon-El saying Kara is great speeches throughout this season, but I almost bought the one where he talked about admiring her as a hero. Maybe, it’s because it’s after a battle where they helped each other out and not a last ditch pity apology.

Speaking of relationship issues, Llanas and Musky-Goldwyn tell an Alex and Maggie story that falls outside the main plot, but ends up showing why their romance works so well. Maggie’s ex Emily is in town, and Alex is the best girlfriend ever and invites them all out to dinner because she doesn’t possess a jealous bone in her body. The first appearance of Emily causes a lot of strain in the usually unflappable Maggie Sawyer’s face with Floriana Lima conveying that there’s some darkness in their past. Alex finds out that Maggie actually cheated on Emily, but instead of going the soap opera route and breaking up with her, she is empathetic and understands that it’s hard for Maggie to trust people after  Instead of going for the easy pre-hiatus drama route, Llanas and Musky-Goldwyn double down on relationship development via talking and even steal some adorable smooches and flirting along the way.

“Distant Sun” is a generally well-structured episode of Supergirl with Gabriel Llanas and Anna Musky-Goldwyn centering the action of the plot on the strained relationship between Mon-El and his parents in a battle between heroism and an easy life of comfort. Mon-El is pretty darn heroic in this episode and talks with his father about establishing a democracy in Daxam. Lar Gand (Kevin Sorbo) acts as kind of a buffer between Rhea’s hardline stance of wanting her son back at all costs and has a quiet, misguided nobility to her ruthlessness. (If you’ve watched or read Game of Thrones, you know how these things turn out.) Teri Hatcher is fantastic at Rhea with her unflinching devotion to getting what she wants and provides an upper crust, extraterrestrial foil to Brenda Strong’s Lillian Luthor as a Big Bad this season. If you’re a mom, it’s a good bet you’re really evil if you appear in Supergirl Season 2.

Kevin Smith helps with “Distant Sun’s” strong structure by making each setpiece a little bigger than the other culminating in an extended sequence of Martian Manhunter in his green form beating down Daxamite royal guards. There aren’t any Daredevil-style one takes in this episode, but Smith lingers on the punches, kicks, and holds creating some truly epic moments like Supergirl pushing back five guards with one of their staff weapons. This longer shot technique combined with searing glances from David Harewood makes a psychic battle between Martian Manhunter and a telepathic bounty hunter believable without wasting any of the CGI budget on the CW’s Legion. Unfortunately, it hinders some of the suspense towards the end of the episode, but the action more than makes up for it.

“Distant Sun” has yet another nuanced Maggie and Alex subplot, a likable Mon-El, the addition of interplanetary intrigue to Supergirl‘s season long arc, and rock solid action scenes from Kevin Smith, which means this reviewer will be going into the hiatus as satisfied as Kara Danvers after devouring a plate of hashbrowns and poached eggs.

Overall Rating: 8.0

Movie Review: Wilson

A lonely, neurotic and hilariously honest middle-aged man reunites with his estranged wife and meets his teenage daughter for the first time.

Based on the celebrated graphic novel by Daniel Clowes, Wilson stars Woody Harrelson in the title role and the end result is a bit mixed in quality. The first thing to understand about Wilson the character is that he’s generally unlikeable. He’s a middle age man that in many aspects is anachronistic and through every situation, he wanders into it’s clear he wonders what his legacy in the world is.

To understand the movie, you need to really understand the graphic novel it’s based off of. Wilson isn’t as much a narrative story as it is a series of short situations that have more in common with newspaper strips than a graphic story. There’s a big picture theme through it all and some work together to form a story, but this isn’t your traditional story. With those short strips (usually a page) the art style too changes mixing up the visuals as a caustic and grumpy tone remains constant.

So Harrelson in the title role has it tough. Even in the comic Wilson doesn’t have much of a personality beyond “dick.” He’s grumpy and gruff and seems to lack a filter saying what he’s thinking as if he’s just given up on societal niceties. So Harrelson is walking into a role where the character is unlikeable and he pulls that off. This is Wilson the comic character brought to life and doing anything beyond “straight guy” honest delivery of the material would betray the character. Adding a sparkle, a smile, a wink, diminishes the character who is none of those things.

Joining Harrelson is primarily Laura Dern as his ex-wife Pippi who’s recovered from what is told to us was a hellish period of her life with stories that aren’t recounted so much as hinted at by things like tattoos. That allows us the viewer to imagine the situations, which honestly is probably funnier than anything Clowes could come up with. Dern does exhausted and weary well and you can see her evolve in her demeanor and appearance as she grows up compared to Wilson’s devolution.

Also joining them is Isabella Amara who plays Claire, the daughter neither know who is the impetus by which the main story gets going. She’s pretty solid but is primarily the audience to Pippi and Wilson’s crazy. She’s not much more than a prop at times for Wilson’s mania or to act as a stand-in for the audience.

Cheryl Hines, Judy Greer, Mary Lynn Rajskub, and Brett Gelman, all stand out during their scenes delivering entertaining performances and controlling the tone or setting it in some ways. Which is impressive since Harrelson is such a presence (for good and bad) in the film.

Directed by Craig Johnson with a screenplay by Clowes, Wilson is interesting in that it attempts to create a narrative but it comes off as a series of vignettes. That really stands out to me as the graphic novel was a series of vignettes. They attempted to create a story out of something that really wasn’t. Some of the funniest moments from the graphic novel is included by what Johnson misses is that interesting visual from the comics. Each story has a different visual and we saw in the comic adaptation American Splendor what and how mixing visuals can work. The film visually would have been stronger if it took some inspiration from that film mixing in different styles including animation with the live action.

The film itself isn’t bad in any way, but it also falls short from what I had hoped (expectations probably didn’t help). The movie feels like a mid-life crisis High Fidelity. Instead of figuring out the direction of one’s life, it’s more focused on what one’s legacy will be. The laughs are there but with such a dark tone it’s an uncomfortable one and with an audience, you could feel that exude from them. Calling this a “dark comedy” is an understatement.

There’s some narrative choices when it comes to the story, especially at the end. Some time frames shift and I left wondering why. If there’s a difference to it all and if so, what it was. Clowes feels like he’s saying something a little different with those choices, but I’m not sure if it’s meant to be different. Some of the message and themes shift a little due to this change.

There’s also issues with the women generally portrayed as all negative, but by the end it’s clear that Wilson corrupts everything he touches and the negativity is a natural and justified reaction.

Wilson is one of the most under the radar comic adaptations of 2017 and it’ll be one that should be debated as to the end result and if it’s better or worse than the original graphic novel. Like American Splendor, Wilson shows not all “comic movies” involve spandex, and some of the most thought-provoking don’t involve them at all.

Overall Rating: 7.65

Review: Penny Dreadful TP

If you’re a fan of the amazing show Penny Dreadful on Showtime, you’ll love what Krysta Wilson-Cairns and Chris King have done with the story. She provides a bit of fun to story we all fell in love with. We get some old faces, some new ones and a nice bit of back (or side) story to give us a well-rounded tale. If you’re already familiar with the story, some things seem disjointed and out place but, it’s done in a way that’s no different than what fans of Wynonna Earp and The Walking Dead have come to expect, only this time it’s in reverse. If you take this as something independent of the show then, it’s a nice intro and, if you’re already a fan it’s just more gore and monster myths to fuel your love of the macabre in between seasons.

Louis De Martinis provides some pretty grim artwork to go along with the dark tales being told. The art is comparable to what would happen if David Mack decided to do nothing but pulp comics and it’s an interesting to look at. The whole comic is steeped in pale reds and darkness, which makes the bloody battles, feedings and, double crosses look like part of the scenery.  There’s also a lot of panels of pure action and gore, more action and gore than story panels. The whole graphic novel looks like really intense storyboards that mimic the tone of the TV series.

Penny Dreadful is well written, each issue contained within the novel builds on the momentum of the last and as a series, it works better in collected as a trade paperback than it did in single issues. The format of this trade is akin to binge-watching a show on Netflix and, it works well for this particular brand of story. This collection serves well to fill in a lot of the blanks that the show leaves us with in between seasons but, it also manages to become something new that will satiate the readers who will never watch the show. The issue focuses mostly on Mina and Vanessa, their families, their struggles with the darkness and their becoming.

Overall, this is a nice long, dark read for people who are into a little monster lore in their comic books. Fans of the slow burn and Tales From the Crypt type comics will fall in love with this classic structured and, based trade. There’s also kudos to be given for showing the parallels between the two women, their agency and the mirror image like goals, desires, and actions. Mina and Vanessa couldn’t be more different on the surface but, they’re both strong women and, watching them play cat and mouse using the people around them as pawns and knights without making them damsels in distress is a fresh take on an old trope.

Story: Krysta Wilson-Cairns and Chris King Art: Louis De Martinis
Story: 8.5 Art: 8.3 Overall: 8.4 Recommendation: Buy

Titan Comics provided Graphic Policy with a FREE copy for review 

Review: Aliens: Defiance #8

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Keeping a baby xenomorph alive, even in a frozen state, contradicts all the survival instincts that Zula and Hollis have. But by studying the alien in cryostasis, Davis believes he can discover how to exterminate it and the rest of its forsaken, vile race permanently. Is he dooming the mission in the name of science?

With the ship in a state of distress, things become blurred in Aliens: Defiance #8. Writer Brian Wood keeps things intriguing mixing in constants with other things that keep you trying to figure out what is real and what isn’t. I’m curious to see what path Zula will choose to follow in upcoming issues.

The art by Stephen Thompson is solid and creates a believable atmosphere of dread. Even if some of it repeats itself as the issue continues it works to bolster the level of fear, as things begin to worsen.

Story: Brian Wood Art: Stephen Thompson
Story: 8.5 Art: 9.0 Overall: 8.75 Recommendation: Buy

Dark Horse Comics provided Graphic Policy with a FREE copy for review

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