Tag Archives: priest

Marvel Comics Review: Spider-Geddon: Covert Ops

Spider-Geddon: Covert Ops combines two Spider-Geddon mini-series in one trade paperback. You get Spider-Force #1-3 and Spider-Girls #1-3 by Priest, Paulo Siqueira, Marcelo Ferreira, Szymon Kudranski, Ibraim Roberson, Oren Junio, Craig Yeung, Roberto Poggi, Guru-eFX, Joe Sabino, Jody Houser Andrés Genolet, Tríona Farrell, Jim Charalampidis, Cris Peter, Jim Campbell, and Joe Caramagna.

Get your copy in comic shops today and book stores on March 12! 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.

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Marvel provided Graphic Policy with FREE copies for review
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Review: Spider-Force #1

The deadliest mission in all of Spider-Geddon has come up and Kaine has stepped forward for what he’s sure will be a suicide mission. But he can’t do it alone and Jessica Drew, A.K.A. Spider-Woman has signed on to help, but has Kaine told her the whole truth? With Ashley Barton, from the Old Man Logan universe, and two new characters (Astro-Spider and Spider-Kid), Kaine’s team is complete and their first mission may be their last!

You know those movies that drop you into the action and when things look really bad they rewind to show you how things went sideways and who everyone is? That’s Spider-Force #1 in a nutshell. Writer Priest has delivered a blockbuster action issue full of excitement, humor, and action.

Spider-Geddon has a benefit that Spider-Verse had as well. The bad guys are pretty clear, the multiverse is involved, and it’s focused on the Spider-Man universe. That keeps things clear and limited but at the same time unlimited when it comes to adding characters. What Priest, like other creators in this toolbox has done, is give us new characters that twist the Peter Parker we know and clash with the Spider-heroes we already have. The first issue delivers Spider-Kid whose personality clashes a bit with the rest. Add in the already abrasive Kaine and then the rather professional and conservative Jessica Drew and you’ve got an interesting mix with just that. And Priest plays that up, especially Ashley Barton and Spider-Kid’s interactions. Those personalities playing off of each other is part of the fun and it’s clear Priest knows that.

What’s also solid is that while this is part of the bigger storyline, I can read just it and enjoy it. It’s an “in addition to” so far instead of a must read allowing it to play in the pond and do its own thing.

The art from Paulo Siqueira, ink by Oren Junior and Craig Yueng, color by Guru e-FX, and lettering by Joe Sabino is fantastic. There’s an energy to the visuals that matches Priest’s style. Though this is a spin-off from an event, the visuals don’t fall into the “B team” trap so many comics like it do. It feels like a main event story visually and the worlds we’re jettisoned off to are interesting with some solid designs for the new characters.

Great dialogue, solid action, cool story, Spider-Force #1 is another win for the Spider-Geddon event.

Story: Priest Art: Paulo Siqueira
Ink: Oren Junior, Craig Yueng Color: Guru e-FX Lettering: VC’s Joe Sabino
Story: 8.5 Art: 8.75 Overall: 8.65 Recommendation: Buy

Marvel provided Graphic Policy with a FREE copy for review

Review: Deathstroke #11

deathstroke11coverIn Deathstroke #11, writer Priest and a stellar guest art team of Denys Cowan, Bill Sienkiewicz, and regular colorist Jeromy Cox tackle the problem of gun violence. The story is set in Chicago, and Priest does his usual non-linear narrative thing switching from neighborhood to neighborhood and getting a variety of perspectives on how Chicago can have less homicides. Is it okay to take revenge on your killer’s children with your own gun, or the gun of a mercenary? Priest and Cowan explore this question through the specific lens of the city of Chicago in a scratchily inked (Sienkiewicz is kind of the best at this.) mystery yarn.

Deathstroke #11 is a master class in both how to tell a story that is both engaging and socially relevant in a non-preachy way and with an O. Henry twist ending. Priest’s writing gives insights into the characters of Detective Gill, the journalist Jack Ryder who has been following Deathstroke since he was responsible for a string of killings in Philadelphia, and the mysterious reverend. He focuses on ideas and characterization while letting Denys Cowan and Bill Sienkiewicz seed in visual clues about who has been killing the child killers in Chicago.

Cowan and Sienkiewicz’s artwork feels like a talented lead guitarist and rhythm guitarist trading riffs and creating a flawless wall of sound. Except nothing about the artwork of Deathstroke #11 is smooth or refined with Cowan going for gritty almost photorealism with his figures and backgrounds, and Sienkiewicz adding crosshatching and thin lines. Jeromy Cox adds splashes of red when Deathstroke makes his kills, an exclamation point in the wintry gloom. Yes, there is a lot of snow in this comic, and you can feel the subzero Chicago temperatures on almost every page. And when Creeper shows up, Cowan channels George Perez, Cox assaults our eyeballs with Christmas-like reds and greens, but the scratchy inks are still there because this is definitely not an issue of New Teen Titans.

deathstroke11interior

Creeper himself is an agent of chaos, who literally won’t die and messes with Priest’s  procedural-meets-journalism with little eruptions of violence tone. Jack Ryder is a kind of oblivious, kind of empathetic investigative journalist and keeps the narrative as the facts keep changing with victims and murderers switching, and the urban legend of Deathstroke lurking in the background. He centers the narrative until he transforms into a straight up freak hellbent on violence. This might be a bit of a logical leap, but I think that Creeper symbolizes using over-the-top violence to stop crime in the United States. Like the tanks in Ferguson after Trayvon Martin was killed, or Donald Trump tweeting about sending “the Feds” to Chicago when he was too afraid to even give a speech there while campaigning. It’s tone deaf destruction and noise like Creeper’s over the top dialogue, or George Zimmerman’s repeated 911 calls, and doesn’t even come close to helping out.

Priest and Cowan face the intersection of racism and gun usage head on in Deathstroke #11. Why are Oregon militamen who occupy a wildlife sanctuary for 41 days and leave shit, bombs, and guns behind for government employees to clean up, and a police officer who shot a 12 year old boy in Cleveland  named Tamir Rice acquitted? It’s white privilege plain and simple, and Priest echoes that in the dialogue of the mothers of the dead children in Deathstroke #11. They just want justice for their kids even if they have to spend their hard earned money on a masked assassin. Their desperate straits makes you sympathize with them even if the killings by Deathstroke in the comic are horrific like a jarring image of a fireman’s ax in a rich white man, who sent his secretary to buy his drugs in the Austin neighborhood of Chicago. Vigilante justice is cathartic, yet hollow, but again Priest doesn’t go the “message route” and ends the story on an ambiguous line of dialogue to go with Cowan’s pure black and white art.

Deathstroke #11 is an intelligent, tightly plotted, and well-researched piece of vigilante fiction from Priest, Denys Cowan, Bill Sienkiewicz, and Jeromy Cox aka the comic book equivalent of the 1995-1996 Chicago Bulls starting lineup  It’s worth picking up even if you don’t know your Deathstrokes from your Deadshots (Or Deadpools.) and rewards rereading.

Story: Priest Pencils: Denys Cowan Inks: Bill Sienkiewicz Colors: Jeromy Cox
Story: 9.0 Art: 9.5 Overall: 9.2 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review

2011 Comic Book Movie Winners and Losers

2011 was a decent year for comic book movies.  The majority were decent, but there are none that go down in my mind as “classics.”  Below is a breakdown as to which were this year’s winners and losers.  All data is from BoxOfficeMojo.  Keep in mind, The Adventures of Tintin is currently still running in theaters and only recently came out in the United States.

Top 5 Domestic Gross for 2011

Thor $181,030,624
Captain America: The First Avenger $176,654,505
X-Men: First Class $146,408,305
Green Lantern $116,601,172
Cowboys & Aliens $100,240,551

Top 5 International Gross

Thor $268,295,994
The Adventures of Tintin $239,100,000
X-Men: First Class $207,215,819
Captain America: The First Avenger $191,953,858
The Green Hornet $129,037,206

Top 5 Total Gross

Thor $449,326,618
Captain America: The First Avenger $368,608,363
X-Men: First Class $353,624,124
The Adventures of Tintin $263,207,000
The Green Hornet $227,817,248

Gross vs. Budget – worldwide gross compared to budget

Thor 3.00
Captain America: The First Avenger 2.63
X-Men: First Class 2.21
The Green Hornet 1.90
Priest 1.31

Global Legs – worldwide gross versus domestic opening

The Adventures of Tintin 27.12
Thor 6.84
The Green Hornet 6.80
X-Men: First Class 6.42
Dylan Dog: Dead of Night 6.14

Domestic Legs – domestic gross versus domestic opening

The Green Hornet 2.95
Thor 2.75
Cowboys & Aliens 2.75
Captain America: The First Avenger 2.72
X-Men: First Class 2.66

As requested here’s the Rotten Tomatoes current score versus the worldwide gross

Name All Critics Top Critics Audience Worldwide
X-Men: First Class 87% 70% 88% $353,624,124
Thor 77% 64% 80% $449,326,618
The Adventures of Tintin 75% 67% 80% $263,207,000
Captain America: The First Avenger 79% 78% 75% $368,608,363
Cowboys & Aliens 44% 51% 49% $174,822,325
Green Lantern 27% 18% 48% $219,851,172
The Green Hornet 44% 21% 47% $227,817,248
Priest 17% 8% 37% $78,309,131
Dylan Dog: Dead of Night 6% 0% 28% $4,634,062

Facebook Movie Watch


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It’s our seventh entry for our Facebook Movie Watch, where we see if movies drive the likes or the likes indicate the buzz a movie has. Below are the new counts and how much they moved.

Most of the films saw slow down in their growth rates compared to last week, except for Green Lantern which continued to build even after a mixed reception in reviews.

Thor – Opened in the United States May 6, already released globally.

Total gain for the week – 36,000

Total gain overall – 628,405

Priest – May 13

Total gain for the week – 9,898

Total gain overall – -24,220

X-Men: First Class – June 3

Total gain for the week – 72,175

Total gain overall385,022

Green Lantern – June 17

Total gain for the week – 66,884

Total gain overall309,696

Captain America: The First Avenger – July 22

Total gain for the week – 10,339

Total gain overall144,796

Cowboys & Aliens – July 29

Total gain for the week – 4,836

Total gain overall24,351


Facebook Movie Watch


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It’s our sixth entry for our Facebook Movie Watch, where we see if movies drive the likes or the likes indicate the buzz a movie has. The entry might be a bit late but the time frame is normal. Below are the new counts and how much they moved.

Thor continued to slow down, X-Men remains the juggernaut, Priest is showing signs of a ressurection while Captain America and Green Lantern held steady in growth.  Cowboys & Aliens barely shows signs of life.

Thor – Opened in the United States May 6, already released globally.

Total gain for the week – 51,443

Total gain overall – 592,405

Priest – May 13

Total gain for the week – 28,248

Total gain overall – 14,322

X-Men: First Class – June 3

Total gain for the week – 95,138

Total gain overall312,847

Green Lantern – June 17

Total gain for the week – 62,432

Total gain overall242,812

Captain America: The First Avenger – July 22

Total gain for the week – 13,479

Total gain overall134,457

Cowboys & Aliens – July 29

Total gain for the week – 6,194

Total gain overall19,515


Facebook Movie Watch


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It’s our fifth entry for our Facebook Movie Watch, where we see if movies drive the likes or the likes indicate the buzz a movie has.  The entry might be a bit late but the time frame is normal.  Below are the new counts and how much they moved.

Priest gained some of it’s lost ground and even with it’s debut, X-Men seems to have slowed down as far as growth.

Thor – Opened in the United States May 6, already released globally.

Total gain for the week – 67,408

Total gain overall – 540,962

Priest – May 13

Total gain for the week – 14,671

Total gain overall – -13,926

X-Men: First Class – June 3

Total gain for the week – 50,534

Total gain overall – 217,709

Green Lantern – June 17

Total gain for the week – 65,209

Total gain overall – 180,380

Captain America: The First Avenger – July 22

Total gain for the week – 19,355

Total gain overall – 120,978

Cowboys & Aliens – July 29

Total gain for the week – 13,147

Total gain overall – 13,321


Facebook Movie Watch


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It’s our fourth entry for our Facebook Movie Watch, where we see if movies drive the likes or the likes indicate the buzz a movie has.  We missed posting last week, so these numbers reflect two weeks worth of numbers.  Below are the new counts and how much they moved.

Overall, Thor, X-Men: First Class and Green Lantern all made healthy gains.  Cowboys & Aliens also started to show some life.  Priest on the other hand started to shed fans, as the movie hasn’t performed at the box office and has received poor reviews.

Thor – Opens in the United States May 6, already released globally.

Total gain for the week – 183,298

Total gain overall – 473,554

Priest – May 13

Total gain for the week – -75,382

Total gain overall – -28,597

X-Men: First Class – June 3

Total gain for the week – 75,969

Total gain overall – 167,175

Green Lantern – June 17

Total gain for the week – 91,965

Total gain overall – 115,171

Captain America: The First Avenger – July 22

Total gain for the week – 49,931

Total gain overall – 101,623

Cowboys & Aliens – July 29

Total gain for the week – 12,065

Total gain overall – 13,321


Facebook Movie Watch


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It’s our third entry for our Facebook Movie Watch, where we see if movies drive the likes or the likes indicate the buzz a movie has.  Thor held onto the top spot in the theaters this past week and Priest opened as expected.  Below are the new counts and how much they moved.

There was a definite slow down for Thor as far as growth in it’s second week.  I’d imagine we’ll see a build up leading up to the movie, a huge gain the week of it’s opening and then a drop off in the week after opening.  We’ll see if the other movies follow this pattern.  The other interesting thing to watch is the overall grades the audiences give the movie compared to their growth.

Thor – Opens in the United States May 6, already released globally.

Total gain for the week – 105,915

Total gain overall – 290,256

Priest – May 13

Total gain for the week – 23,837

Total gain overall – 46,785

X-Men: First Class – June 3

Total gain for the week – 41,924

Total gain overall – 91,206

Green Lantern – June 17

Total gain for the week – 10,353

Total gain overall – 23,206

Captain America: The First Avenger – July 22

Total gain for the week – 15,106

Total gain overall – 51,692

Cowboys & Aliens – July 29

Total gain for the week – 156

Total gain overall – 1,256


Comic Movies Rule the Weekend. Thor Remains on Top.


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Marvel Studios Thor PosterIt was a good weekend for comic book movies as Thor remained at the top spot in the box office, something I wasn’t expecting.  The movie earned $34.5 million for the weekend, only dropping 47.5%, which is similar to what Iron Man experienced.  I actually expected Bridesmaids to be number one, but it debuted with a better than expected $24.4 million.  Thor has now earned $119.3 million, but will likely lost it’s top spot next weekend when the new Pirates of the Caribbean movie debuts.

Priest also debuted this weekend and took forth place for $14.5 million.  It’s been playing overseas for two weeks where it’s earned $25.6 million.  The movie’s audience was 57% male and 57% over 25 and hasn’t received the best ratings on sites like Rottentomatoes.

Dylan Dog: Dead of Night, which is another movie based on comic books, is now playing in just 34 theaters where it averaged a joke $226 per venue.

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