Variety is reporting that the 90’s classic Varsity Blues will be adapted into a TV show for the cable network CMT. The 1999 flick focused on a back-up quarterback (James Van Der Beek) being forced to replace the star player on the team (Paul Walker) due to injury. Through a demanding regiment instigated by the tough as nails Coach Kilmer (Jon Voight), the Beek and his crew learn lessons of life and maturity, while also finding time for some iconic party scenes. Whipped cream bikini, anyone?
Beyond those already mentioned, the original starred Ron Lester, Ali Larter, Scott Caan, Amy Smart, and Richard Lineback. Currently, it has not been announced whether any of the original cast members will be offered a chance to return, or who will star in the TV adaptation. However, it has been confirmed that original scribe W. Peter Iliff will pen the first episode. Iliff performed a similar service for the recent Point Break remake, where he wrote the story for both iterations.
The announcement to adapt Varsity Blues to the small screen follows a slew of recent failed TV adaptations of movies. Rush Hour only lasted one season, as did Minority Report. Beverly Hills Cop never made it to air, while Lethal Weapon is not garnering any momentum from its trailers. The recent remake of MacGuyver was even so poorly received CBS was forced to reshoot the entire pilot with a different director, and new cast members.
It’s not impossible for a TV show based on a movie to succeed, as seen with FX’s Fargo, though based on the graveyard of recent failures, CMT has to deliver the goods if they want the show to have any longevity.
Everyone’s favorite team of murderers, psychopaths, and killers is back again to do the jobs no one else can. Guided by Amanda Waller, they are sent into the danger zone with the guarantee that the bombs in their heads will be activated if they try to run. Now a new team has been assembled, and these are the top five moments to come out of the first issue of their new series.
5. Turbulence
Not even on the ground for their first mission and the team already runs into trouble. What happens? Well without giving too much away, the team experiences turbulence in a way which puts everyone in danger. It helps to show how easily the team can find themselves in danger at a moment’s notice.
4. Build me a team
The team coming together is always one of the best moment in an ensemble book. Here the different members of the squads are pulled by their individual high tech containment cells and connected at the center where Amanda Waller is waiting to inspect them. It’s a nice piece of art which helps to show who is going to be on the new team.
3. Briefing
When a comic takes the time to brief everyone on what their mission is, it usually can become just a page of exposition. Here though, as Waller is telling everyone of their mission, the team is barely paying attention to her and instead are busy with their own interests. Deadshot is sleeping, Captain Boomerang is watching TV on his console, and Harley Quinn is playing a knock off Pokémon Go. Definitely not your standard morning meeting.
2. Crash
After suffering turbulence, the team crash lands into a glacier. Though they are appear to be saved by the Enchantress’ magic, they all look like they have seen better days. Barely alive, injured, and damaged is not the best way to start a mission. Especially when you get no back up.
1. One of the good guys
By the look of it, the new series is going to end each issue with a back up story focusing on one of the members of the team. In this story, Deadshot, prior to his conviction, was forced into taking a job by a group of radicals who kidnapped his daughter. Instead of killing his target (Bruce Wayne), Deadshot gets Batman to back him up and the two of them rush the compound. Seeing these two characters fight back to back easily stole the number spot on this list.
—
What were your favorite moments from Suicide Squad #1? Leave a comment below and let us know.
There’s no news of who or what he’ll be portraying in Denis Villeneuve’s weird long-gap sequel, but let’s hope for everyone in the cast he will be a Replicant. Pulling his method shit as a robot would be best for everyone involved.
The existence of Blade Runner 2 makes little to no sense at all, but the involvement of Denis Villeneuve and cinematographer Roger Deakins is thrilling. And the cast is impressive: Ryan Gosling, Harrison Ford, and yes even Jared Leto. He may have driven me insane with his Suicide Squad method stunt, but he is a wonderful actor from time to time. Requiem for a Dream changed my life, and he deserved everything for Dallas Buyer’s Club. Panic Room was solid work. American Psycho, Fight Club, both solid. Hell I even enjoyed Switchback as ridiculous as it was.
But Suic… never mind I’m leaving it alone.
Blade Runner 2 will open October 6, 2017, so that gives Jared Leto just enough time to get into character.
Every summer movie season brings with it the “promise” of tired sequels and uninspired reboots of better movies, and a whole slew of franchise non starters that come and go faster than the cool temps. But this 2016 summer movie season has felt especially moribund.
Maybe things will change?
It started way back in late March – the summer movie season is getting painfully more extended – with Batman v Superman. It was a time of hope, not only for DC but the upcoming slate of massive comic book and franchise film behemoths. Then, well, Batman v Superman actually came out. It made a ton of cash, but somehow not enough, and the product itself was… I don’t wanna get into it.
April did have The Jungle Book adaptation, a visually impressive adventure, hindered by a lackluster narrative, and it brought in a healthy box office. But then there was probably the most unwanted, unnecessary sequel of the entire season, maybe in ever, Hunstman: Winter’s War. Who asked for this nonsense? Apparently nobody as it came and went without so much as a whimper. Anywho, here comes May, and the traditional kick off for the 2016 summer movie season. Things are looking up with Captain America: Civil War. Solid reviews, great box office, we get Spider-Man, yadda yada yadda… It may be milquetoast – at least for me – but hey, it brought in all the money and the season was off and running.
Only it wasn’t. Think back from today, through August and July and June and through May; what else stands out? Not only as a big box-office draw, but as an honest-to-goodness enjoyable experience. The week after Civil War we got Money Monster, an admirable attempt from Jodie Foster and stars George Clooney and Julia Roberts to mix things up with an adult drama. Only Money Monster was about five years too late, and dull, and a little hamfisted. And it came and went with another shrug from audiences. Then another random sequel: Neighbors 2. Funny? Sure. But, again, another cinematic blank stare into the void of creative bankruptcy.
The end of May came with yet ANOTHER sequel literally nobody asked for. Alice Through the Looking Glass is probably just as baffling as The Huntsman. It was slammed by critics, dismissed by audiences, and its mere existence was just confusing as all hell. That SAME WEEKEND Bryan Singer dumped a bland X-Men sequel on the masses, and was met with a staggeringly underwhelming box-office take (under $180 million) for a movie of this magnitude. Things were looking bleak, but there was hope on the horizon.
Then there was June. Oh, June. Three, count ’em, THREE sequels nobody was eager to see: Teenage Mutant Ninja Turtles: Out of the Shadows, Now You See Me 2, and Independence Day: Resurgence. Raise your hand if you were super excited to see any of these. Well, if you didn’t raise your hand, you aren’t alone. All three failed miserably critically, financially, and with audiences. There were modest hits like Central Intelligence and The Conjuring 2 (which stands out because there was a real audience looking forward to a new entry in this franchise), but overall summer tentpole enthusiasm felt at an all-time low.
July wouldn’t fare much better.
We wasted no time in July with two flops, Steven Spielberg’s The BFG and The Legend of Tarzan. Even Steven Spielberg couldn’t save this mess! And then, we reached Ghostbusters. Oh, Ghostbusters. The controversy and lame vitriol surrounding this gender-swapping reboot was pretty disgusting. Angry man-babies aside, and don’t tell anyone this, Ghostbusters was not that great. It wasn’t the women that derailed Paul Feig’s movie, it was the mediocre plot and the soulless factory assembly-line feel of the whole endeavor. Box office was average at best, and Sony is so far in the red on this one the sequel is probably not going to happen. But, then again, if the 2016 summer movie season is any indication, Hollywood will absolutely churn out sequels nobody wants.
The rest of July and the first half of August, up to the first day of school, has been just as depressing. Some films have made money, but have been disowned by critics (I’m looking at you, Jason Bourne). Others came and went without anyone even noticing. To be fair, there were some modest successes. Blake Lively’s The Shallows was a fun little horror film and it made it’s money back. The Purge: Election Day played off its depressing timelines to bring in over $100 million. Star Trek Beyond was easily the best entry into the new reboot franchise, but it has sputtered at the box office. Probably because by the time it came out, the sting of sequelitis had set in, and audiences expected the worst.
Mid August had the potential to save everything with Suicide Squad, another mega-hyped DC property. But, hey, let’s not get into this again, ok? Suicide Squad has made a lot of dough so far but don’t mistake the cash for quality. All it means is we might get another pointless sequel that will bring with it diminishing returns.
Now there’s always animated films out there to inflate the overall numbers. Finding Dory and The Secret Life of Pets both dominated the 2016 summer movie season. But live action? Not so much.
Has Hollywood learned anything by the staggering amount of financial failures and audience disinterest? Probably not. It doesn’t seem too far fetched that next year or two, in the hot months, we’ll have Tarzan 2 or maybe Tomorrowland: Back to Today’s Tomorrow. However, this summer has seemed to hit Hollywood where it really hurts: Their wallet. Some of these movies made money, at least they look that way, but these budgets and marketing campaigns have spiraled out of control so much that hundreds of millions isn’t enough for the biggest of them. Batman v Superman made hella cash, but it didn’t make A BILLION DOLLARS like it needed to. That’s insane.
Why do these massive films need marketing campaigns that cost more than the movie itself? What if there has been just one trailer for BvS, and a TV spot or two? Maybe some posters? That’s plenty to sell a film about Batman and Superman fighting each other. Did Suicide Squad need a new press release every damned day of the summer? Probably not. These movies have built in audiences ready to give away their money, perhaps Hollywood could cut back on the onslaught of pre-release white noise and these films wouldn’t need to make the money it would cost to buy a sizable island in order to turn a profit.
Superhero movies aren’t going anywhere, and there’s nothing wrong with that. But they can’t just be marketing machines without movies to back them up anymore. DC is chasing its own tail with reshoots and “injecting humor” into their films now, but the balance of selling smaller films versus throwing trucks full of gold bars at known properties doesn’t make much sense if Hollywood wants to course correct their summer movies.
Sequels and reboots are fine. I get it, because any time something fresh or creative comes along (The Nice Guys), audiences don’t bother. Because general audiences, like studios, don’t really want to think a lot about what they go see in the summer. Make the sequels and reboots and such. Theoretically, the 2016 summer movie season schedule isn’t the problem, it’s the end result of these movies. Put a little more money in the product and a little less in the marketing. It’s a wild-ass concept, I know, but what if movie trailers and viral bullshit and press releases aren’t flooding every news cycle of every day, and instead they show us just enough to get us interested and then they spend those marketing bucks on things like screenplays, directors, plot, shit like that? I know, crazy, and it requires a complete ideological reshuffle in Hollywood that is probably impossible to achieve. It’s nice to dream though.
But there’s good news ahead for 2016. You see, summer is over. Not on the calendar, that’s not for some time now, but the 2016 summer movie season is figuratively done. Before long the fall will bring some actual films that people appear to have put some honest thought into. There will be missteps, but nothing on par with what we’ve endured these last few months. Let’s hope the studios will check their second and third quarter numbers, and decide to reshuffle their thinking on these reboots and remakes and sequels.
Which is your favorite? Be sure to let us know in the comments down below.
“Marvel’s Doctor Strange follows the story of the talented neurosurgeon Doctor Stephen Strange who, after a tragic car accident, must put ego aside and learn the secrets of a hidden world of mysticism and alternate dimensions. Based in New York City’s Greenwich Village, Doctor Strange must act as an intermediary between the real world and what lies beyond, utilizing a vast array of metaphysical abilities and artifacts to protect the Marvel cinematic universe.”
Last week, The Independent told the story of a Reddit user threatening to sue Warner Brothers’ for the deceptive Suicide Squad trailer. The trailer, which seemed to promise a lot of screen time for Jared Leto’s Joker, did not paint an accurate image of the film. As such, user BlackPanther2016 revealed a desire to sue the studio as well as DC Comics over false advertisement.
While a lawsuit seems a bit excessive, the feelings conveyed by this person are not uncommon. An effective movie trailer peaks an audience’s interest in the film it is attempting to sell. Therefore, it can be quite frustrating if a trailer does not accurately depict the film it has to offer. There’s a plethora of films that have deceptive trailers, and through this list you can see 10 of the worst offenders.
Being on this list does not mean the film itself was bad, only that its trailer did not portray the kind of film it was correctly. Due to the way films evolve from one stage of production to another, teaser trailers will not be considered for this list. Nor will trailers that omit non-plot essential features, such as the trailer for Pan’s Labyrinth hiding the fact that the film is Spanish. Finally, be warned, spoilers ahead!
10. The Amazing Spider-Man 2 (2014)
The sequel to 2012’s Amazing Spider-Man saw the return of Andrew Garfield as the spinning web crawler. The trailers promised a slew of villains, such as Electro, Green Goblin, and a major clash between Garfield’s Spider-Man and Paul Giamatti’s Rhino. The trailer ends on a shot of Spider-Man slinging a pothole cover towards Rhino, seemingly promising a major brawl in the film. However, no such brawl took place. In fact, the final shot of the trailer is actually the final shot of the film, robbing the audience of the final showdown it teased in the trailer.
9. The Rules of Attraction (2002)
The trailer for this adaptation of the Bret Easton Ellis novel presented a film that seemed like the next American Pie. It had wacky teenagers doing raunchy things, and promised a world filled with good times for all involved. However, what is actually delivered in this Roger Avery directed flick is a provocative think-piece about obsession, depression, and lust. Through artsy direction, and time-melding editing, this film delivers a look into a world that is far more sinister than the one pictured in the trailer.
8. Bridge to Terabithia (2007)
This 2007 flick, adapted from the Katherine Paterson book of the same name, stars Josh Hutchinson and AnnaSophia Robb as two youngsters that seemingly uncover a hidden, magical kingdom in the forest. At least that’s how the trailers for this film made it seem. However, rather than being a fantasy film akin to Chronicles of Narnia, it is a thought-provoking film about life and death, as well as dealing with the loss of a loved one. The fantasy elements presented in the trailer are a shared dream the two main characters have prior to one of them dying.
7. Godzilla (2014)
Following the cancellation of his smash-success Breaking Bad, fans were itching to see what Bryan Cranston would do next. When the first trailer for 2014’s Godzilla hit the web, Cranston’s chilling lines echoing over scenes of destruction instantly sold people on the concept of a monster movie with Walter White. There’s no wonder then that people were stunned when Cranston dies about 30 minutes into the film. His prominent placement within the film’s trailers promised fans something it simply couldn’t deliver.
6. Scream (1996)
Wes Craven was a horror genius. He made some of the best horror movies of his generation, with flicks like A Nightmare on Elm Street, The Hills Have Eyes, and Scream. The latter of which has a deceptively misleading trailer. While the deception is all part of the rouse played on the audience, it is still misleading and deserves a spot on this list. The trailer presents a slasher flick with Drew Barrymore leading the charge against a masked villain. What actually happens is that big named actress Barrymore gets killed during the film’s opening scene, with Neve Campell, a far less known actress at the time, taking the reins (a trick Craven likely learned from Alfred Hitchcock’s Psycho).
5. Chappie (2015)
The explosive trailer to Neill Blomkamp’s third directorial effort sold a movie full of intense action and deep, philosophical questions. However, what was presented throughout the film was a much slower, methodical approach to storytelling than the trailers promised. Beyond saddling the titular character with two gang-bangers that are hardly seen in the trailer, the film’s pace is nothing like what the trailers presented.
4. Brave (2012)
Pixar’s animated adventure follows Meridia, a princess in the Scottish highlands that’s set to be married off. The trailers present the film as a competition for Meridia’s hand in marriage, where she will fight for independence from her controlling mother. In actuality, the film is about Meridia being granted a wish from an old witch. Through this wish, she accidentally turns her mother into a bear as a way to change her fate. Hilarity surely ensues, but not the kind the trailers presented.
3. Million Dollar Baby (2004)
The trailer for Clint Eastwood’s Academy Award winning drama presents an underdog story akin to Rocky and other sports movies of its time. It makes it seem like Eastwood’s stubborn character will learn to respect Hillary Swank’s persistent demeanor. Most people that view the trailer will likely feel confident they know how the film will unfold. However, no one saw the second half of this film coming. Following an accident in the ring, Swank ends up paralyzed, and begs Eastwood to kill her. The final third of the film is about Eastwood struggling with his decision, before finally respecting her wishes. It is a depressing turn for a film whose trailer made it seem like a cheerful tale about an underdog finally getting her day.
2. Drive (2011)
The trailers for this Nicholas Winding Refn crime drama presented a high-octane action flick, that seemed to mix the car chases from the Fast and the Furious, with the driver-for-hire storyline from The Transporter. What was presented instead was a deeply provocative crime drama, with stellar performances from leading man Ryan Gosling, as well as the supporting cast Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaacs, and Christina Hendricks. Despite being an excellent movie, the trailer was so deceptive that one Michigan woman sued FilmDistrict Distribution. Sound familiar?
1. World’s Greatest Dad (2009)
For those familiar with Bobcat Goldthwait’s work, the trailer for his 2009 flick World’s Greatest Dad would’ve likely sounded a few alarm bells. However, for the general movie-going audience, the upbeat trailer that promised a quirky father-son comedy with Robin Williams probably seemed quite fitting. Expecting to see a feel-good comedy, audiences were likely surprised when they discovered the film is actually about the decisions Williams makes after his son accidentally dies from auto-erotic asphyxiation. While it is a brilliantly dark comedic film, it is absolutely nothing like what the trailers presented.
For nearly twenty years, over 900 episodes, Ash Ketchum has been on a journey to be the best, like no one ever was. The forever young Pokémon trainer has won over 50 gym badges, but has yet to win a traditional Pokémon league. All that looked set to change as Ash and his Greninja made their way to the finals of the Kalo League. There, the pride of Pallet Town faced off against his rival; Alain and his Mega Charizard. Renewed hope bloomed within the community as thoughts of our boy emerging victorious began to seep into our minds. Turn back now, if you don’t want this legendary battle ruined for you as there are spoilers after the jump.
Alas, t’was not meant to be. In an intense six-on-six battle over two episodes, Ash’s Greninja was embroiled in a climactic clash with Alain’s Mega Charizard. Both Pokémon built their energy for one final attack and launched at each other simultaneously. It was shonen anime at it’s finest and when the dust settled, only Charizard was left standing. Alain was declared Champion as a defeated Ash vowed to never give up. Its’ the classic Pokémon ending and one we should have been expected. Maybe it was the franchise’s twentieth anniversary or the success of Pokémon Go, but something had allowed us to dream again. Not even Jirachi can make all dreams come true.
It wasn’t the outcome we’d hoped for, but the journey itself was breathtaking. Never had Ash come this far as a trainer and as a character which leaves the question of where he goes from here. Ash’s team has never been as powerful, yet it is inevitable the Greninja and co. will be abandoned in Professor Oak’s lab along with stalwart’s Charizard and Sceptile, two allies who could have turned the tide of this Pokémon battle. With Pokémon Sun and Moon radically changing the league format, who knows when Ash may get another chance at glory. His journey may continue, but we leave Kalos with a sense that we will never see their like again. It seems apt that the finals took place during the Olympics, even if our champion had to settle for the silver. Now, where’s my Gameboy?
This is a minor spoiler alert, Superman didn’t die at the end of ‘Batman v Superman: Dawn of Justice.’ WHAT!? I know, I just blew your mind. (I should stop talking like ‘Mr. Robot’ now.)
Filming for Zack Snyder’s ‘Justice League’ is underway and it appears that Superman will have a subtle new look. I wonder if Geoff Johns does hair now? The iconic Superman curl is back.
According to Dark Horizons, The Instagram account TravelByHart was able to arrange for two kids to visit the set of the movie where they met and stood for a photo of Henry Cavill in full costume which includes the signature hair curl.
‘Justice League’ follows the events of Batman V Superman: Dawn of Justice, and features Ben Affleck as Batman, Henry Cavill as Superman, Gal Gadot as Wonder Woman, Jason Momoa as Aquaman, Ray Fisher as Cyborg, and Ezra Miller as The Flash.
Uninspired, overblown headlines such as this one aside, Suicide Squad is not a good movie. Summer 2016 has been an blockbuster disappointment to say the least and DC’s latest universe-building installment disappoints greatly after looking as if it might have been the light at the end of the tunnel.
The UnPOP Podcast goes full Jared Leto method and dives into the characters of Harley Quinn and The Joker while discussing the movie. The guys also bemoan “news” media and the propagation of gossip and talk some Shazam! and Black Adam news in “What’s Cookin’ in The Rock’s Kitchen”.
Check out the hosts’ Hollywood makeup conversion (One goes drag! The other joins 30 Seconds to Mars!) on Facebook here!
Each week here on Monkeys Fighting Robots, we are looking at every DC Rebirth title and tracking its progress. Books will be rated on a scale of “Buy It”, “Borrow It” or “Bin It”. Spoilers ahead.
Supergirl: Rebirth #1 (Steve Orlando, Ray McCarthy and Emanuela Lupacchino)
Did you know that Supergirl had lost her powers? No? Me neither. It doesn’t really matter either way as this opening issues sees the Girl of Steel regain her extraordinary abilities just in time to fight off a monster linked to her father’s increasingly questionable past. DC has made strives to create interesting female-led series following the unexpected cult status of the Batgirl of Burnside revamp. Stylistically, this series attempts to capture a similar voice that humanises an otherworldly character. It misses out on adding some artistic flare to character by remaining firmly dedicated to the DC house style, but it is difficult to fault the interiors themselves. Focusing the story on a young Kara Zor-El/Danvers trying to adjust to human life is an interesting reversal of the traditional Superman version of the hero’s journey, but that isn’t new. It’s quite clear that DC is attempting to capitalise on the success of the Supergirl TV series by situating Kara as an undercover agent of the D.E.O. For our money, the Adventures of Supergirl provides the perfect accompaniment to the show and the Batgirl of Burnside, but in its absence this core Supergirl provides an intriguing entry point for the character.
Recommendation: Buy It.
Suicide Squad #1 (Rob Williams, Scott Williams and Jim Lee)
Amanda Waller is one of the most interesting characters in the DC universe. She walks the grey in a way that few other characters do, being one who feeds on the morally dubious nature of pro-active American exceptionalism. This is the focus of this issue, a character study that goes through the process of how one can live with the choices Waller had to make, as the Squad begin an incursion into Russian territory. There is an element of DS9‘s “The Pale Moonlight”, an examination which allows you to understand, if not condone the actions involved. The main story is followed by a back-up feature which analyses everyone’s favourite sharpshooter, Floyd Lawton aka Deadshot. This is one of the few stories in recent memory that have truly questioned the influence of super-heroics on the populous and the oft-cited escalation of the criminal element. The result is a touching piece that truly understands and expands the character. Overall, we have a surprisingly deep issue that is extenuated by the wonderful interiors of Scott Williams and the king of comics himself, Jim Lee.
Recommendation: Buy It.
Batgirl and the Birds of Prey #1 (Shawna Benson, Julie Benson and Claire Roe)
It’s refreshing to have the Birds of Prey back on our shelves, but alas there is no subtly in this issue. The thematic clash between the ruthless tactics of the re-emerged Huntress and the “by the book” nature of the Batgirl-Black Canary combo is as classic as it gets, but something is lacking. Instead of trusting its audience to be able to understand this conflict, it bombards us with expository, nonsense dialogue that violates the cardinal rule of “show don’t tell.” It’s wooden, unnatural and unbecoming of the creative team behind it. The revival of the Birds of Prey, with the central Oracle mystery along with fantastic artwork, should be a no-brainer. The problem is that it becomes a literal no-brainer, by hand-holding its audience throughout. Rather than challenge or trust its readers to intuitive some of the series finer nuances, it hits us over the head with those themes until they lose all meaning. This is series needs to do better. Shoddy writing cost us a Birds of Prey book last time around, we can’t allow it to happen again.
Recommendation: Borrow It.
Harley Quinn #2 (Patrick Gleason, Peter J. Tomasi and Chad Hardin)
Sometimes, even critics need to put your hand up and say that a book isn’t for them. Every so often, a critic can recognise that the work they are examining may be put together well, but that it doesn’t resonate with them personally. Harley Quinn doesn’t deserve that benefit of the doubt. Unlike Deadpool comics, which many will agree are finely crafted although they do not speak to them, there is something about the Harley Quinn ongoing series which does not sit well with me. There is nothing inherently wrong with the current trajection of the Harley Quinn ongoing series, in which the former clown princess of crime goes on a number of misadventures as a fun-loving, roller-derby playing anti-hero. The problem is that, in doing so, they have shed the character of the complexity which makes her interesting. Deadpool on the other hands remains interesting because even though it is wacky; Wade Wilson is a deeply flawed character that can have touching relationships with those around him. Harley, on the other hand, focuses on Looney Tunes inspired antics without anything of substance beneath it. Having her move on from the yolk of the Joker creates so much potential for story-telling, but it is squandered if we are left with a character without a purpose. Comedy comics are all well and good, but even they need something to ground them. If you don’t believe me, give Archie Andrews a call and see what he tells you. Could I be out of touch? No, it’s the fan-base that is wrong. This is wasted potential of a character whose pedigree is deserving of more respect. If this is what we consider to be the fourth pillar of DC Comics, then our medium needs to take a serious look at itself.
Recommendation: Bin It.
Justice League #3 (Bryan Hitch, Sandu Florea and Tony S. Daniel)
Reading stories like this make me ashamed. This is an embarrassment, a story with no consequences and no heart. It’s a story that merely exists, thematically void of anything that would make it appealing. Hitch arms those who would dismiss comics as a refuge of inept story-tellers, for those lacking the necessary talent for prose. There is nothing wrong with a popcorn book, indeed they are often refreshing when the industry takes itself too seriously, but they aren’t memorable. There is misconception that existential threats are uninteresting because within the realm of super-heroics, there are no true stakes. Superman will save the day and all will be as it were. Yet, those world-shattering crises need not be emotionally empty. When they are used as a lens to examine relationships or provide a character study, they are remarkable tools for growth. Infinite Crisis worked because the story wasn’t really about Superboy Prime’s attempt to influence the multiverse, but rather accepting change in one’s life. The best artists in the world can’t save a book that doesn’t have a heart. This creative team don’t get that and do a disservice to what should be the flagship book. The fact that this book was the top-selling comic in July shows the brand power of a name like Justice League, even if the quality of the story within should leave us all with a bitter taste in our mouths.
Recommendation: Bin It.
As DC Rebirth continues, the numbers of book grows, and when coupled with the bi-monthly publication schedule, some books are read but don’t merit their own reviews. Batman, Aquaman, and Green Arrow, in particular, are three books which do not require more praise. If you’ve been following these series, you will know that they are some of the finest examples of comic storytelling on offer. Meanwhile, Green Lanterns maintains its mundanity, and don’t expect anything other than bland callbacks to the 90s in the continuing adventure of Superman. Sales indicate that the DC Rebirth has been a tremendous success even if perverse incentives are rewarding the least worthy. The Book of the Week goes to Suicide Squad as an effective example of a character study in comic form. The Dishonourable Mention lands firmly at the feat of Justice League which will endure regardless. This week’s offering would merit a bronze, but DC is going to have to up its game if its flagship title dares to aim for gold.
Review copies were kindly provided by the publisher.
Supergirl: Rebirth #1 (Steve Orlando, Ray McCarthy and Emanuela Lupacchino)
Suicide Squad #1 (Rob Williams, Scott Williams and Jim Lee)
Batgirl and the Birds of Prey #1 (Shawna Benson, Julie Benson and Claire Roe)
Harley Quinn #2 (Patrick Gleason, Peter J. Tomasi and Chad Hardin)
Justice League #3 (Bryan Hitch, Sandu Florea and Tony S. Daniel)