REVIEW: ‘The Huntsman: Winter’s War’ pretty to see, but little more

April 20, 2016

The Huntsman: Winter’s War on the surface has quite a bit in common with its predecessor, 2012’s Snow White and the Huntsman.

Stars Charlize Theron, Chris Hemsworth, Nick Frost, and Sam Clafin reprise their previous roles, while Cedric Nicholas-Troyan, who supervised visual effects on the original, takes over full directorial duties.

But the similarities more or less end there. Lighter in tone and lavish in style and visual splendor, The Huntsman: Winter’s War attempts to parlay levity and romance for the gravity and darkness that distinguished the first film.

The effort results in a slightly more enjoyable film, but also one that lacks in any emotional depth or complexity. It aims lower in terms of impact and appeal than the earlier film, with predictably mediocre results.

What’s it about?

The Huntsman: Winter’s War provides backstory for the titular Huntsman, Eric (Hemsworth) and evil Queen Ravenna (Theron). It turns out that the two were, in fact, connected long before Eric helped Snow White dethrone Ravenna in the earlier tale.

That connection is Freya (Emily Blunt), Ravenna’s younger sister. Years before Ravenna usurped Snow White’s kingdom, Freya stood by her sister’s side as she conquered other kings and their lands, content to live without magic and without power of her own.

A terrible betrayal awakens magic within her, a power over cold and ice that she uses to craft her kingdom far from Ravenna’s. To protect herself and impose her will and law upon her conquered lands, Freya takes children from their homes and raises them as “huntsmen.” She calls them her children, and upon those children there is but one inviolate law: “Do not ever love.”

From among those first conscripted child soldiers two rise to the very top: Eric and Sara (Jessica Chastain), whose skills with a bow and daggers make her even more formidable than Eric himself. The pair, however, breaks Queen Freya’s one cardinal rule, leading to a tragic confrontation that leaves Eric the broken drunkard audiences first met in Snow White and the Huntsman.

Flash-forward to after Ravenna’s defeat at the hands of Snow White, the Huntsman, and their brave followers. The evil queen’s magic mirror, which still held power enough to infect even Snow White’s purity of spirit, goes missing.

Through her trusted friend, Prince William (Sam Clafin, The Hunger Games series), she asks Eric to find the mirror and take it far from her kingdom, where it cannot harm anyone else. But Freya has learned of its disappearance as well, and seeks to make its power her own.

Thus Eric, along with jovial dwarf Nion (Nick Frost) and his sourpuss brother Gryff (Rob Brydon), finds himself forced to face his past in the form of Freya’s loyal huntsman army who all consider him a traitor, and another enemy from the past who stands revealed thanks to the power of the mirror.

Magnificent production, costume design

What stands out most about The Huntsman: Winter’s War by far is its visuals. From the resplendent, shimmering gowns and striking make-up adorning the film’s two powerful queens to the design of the film’s fortresses, forests, and non-human denizens, it’s a feast for the eyes in just about every frame.

All that optical splendor hardly comes as a surprise, considering the creative team at work here. Proceeding from director Cedric Nicholas-Troyan’s vision from the film, production designer Dominic Watkins, who worked on the first film, expands the fairy tale world beyond the dark forest that dominated Snow White and the Huntsman, and his work continues to impress.

Script, story fall short

Unfortunately, like so many other genre films where the eye candy and casting takes priority over telling a compelling story, The Huntsman: Winter’s War falls far short of its predecessor in terms of giving audiences thoughtful characterization and character-driven drama. The film beats you over the head with its predominant theme – how betrayal can lead to the hardening of even the kindest heart – and offers little else in terms of insight into why the principals do what they do.

As such, the production truly wastes the casting of Emily Blunt. As it dictates the Ice Queen be driven solely by that one sentiment, the script limits Blunt’s range of expression and emotion to a wooden performance that’s far below any expectations audiences may have from her previous work.

Hemsworth, Frost, and Chastain get to have far more fun, in comparison, and Theron once again chills as Ravenna, a role critics lauded as one of the few good things about Snow White and the Huntsman the first time around. But even their characterizations and story arcs are simplistic and far too predictable.

Yes, Hemsworth gets to smile a lot more this time and show some of the on-screen charisma that’s kept his star on the rise. However, the haunted, damaged Huntsman of the first film was a bit more interesting than the bright and cheery version audiences get here.

It doesn’t help that seemingly all the women in powerful roles in The Huntsman: Winter’s War seem driven by that tired “Hell hath no fury like a woman scorned” cliché. The first film, at least, wrote its female characters as driven by far more, and thus made them far more compelling.

Worth seeing?

Unless you were a die-hard fan of Snow White and the Huntsman and the news that The Huntsman: Winter’s War was on its way to theaters made you squee with delight, safe to say this film is one that can wait for a rental. It’s not terrible, by any means, but the complacency in the film’s writing leads to a mediocrity so profound that it begs the whole “why even bother with a sequel?” question.

In this case, some might answer, “So we can see Charlize Theron as the evil queen again?”

While that is a good answer, it’s simply not good enough.

The Huntsman: Winter’s War

Starring Chris Hemsworth, Charlize Theron, Emily Blunt, Nick Frost, Sam Claflin, Rob Brydon and Jessica Chastain. Directed by Cedric Nicolas-Troyan.
Running Time: 114 minutes
Rated PG-13 for fantasy action violence and some sensuality.

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Review: ‘The Flash’ Episode 18 “Versus Zoom” – Jay Who?

Sean McGrath

April 20, 2016

Last night, the Flash returned to Tuesday nights after yet another small hiatus and right back to where it left off. With Barry and Team Flash still seeking an end to their formidable foe, all eyes are set on one thing — to defeat Zoom.

Now, Harrison Wells had a good point. Almost like “why fix what isn’t broken” type of thought, why is Barry so focused on defeating Zoom when they are literally worlds apart and in no immediate danger of the worlds lapsing? Nonetheless, the focus for the Flash, as well as the episode as a whole, are centered around Zoom.

Since the start of this season, we were thrusted into this whole complicated story. Zoom emerges, Barry is faced yet again with a fast foe who eludes him, Barry has been beat up and down in two different Central Cities, but we have always had some question — who IS Zoom?

Now, the real identity question was answered only just a few episodes ago when “Jay” was actually revealed to be Hunter Zolomon after all and then we were really only curious as to how Zolomon became Zoom after all. Which is where last nights episode began. In the vintage camera filter that has accompanied the Earth-2 setting, we see a young Hunter Zolomon awake from his bed and hear banging downstairs and a woman yelling. In a strong comparison to Barry’s childhood and the night that Reverse Flash killed his mother, the only difference is that Hunter’s past takes a darker turn. His father, wearing what we can only assume to be Jay’s Flash helmet later on, is abusing his wife. He sees Hunter looking in on the scene, and does a crazy thing that not many would expect. He heads into the other room, reemerges with a pistol and shoots his mom right in front of his eyes. Now, not being an expert on the psyche of the mind, but I am sure that anything to that sort of a nature does in fact leave a mental strain, causing deep emotional and psychological problems that without any sort of real counseling, can cause a break in the mental spectrum.

Which is exactly what the show does.

We then see a young Hunter head to an orphanage and come to find out that nobody in his family wants him. A young boy who lost his parents, has nobody in the world who wants him and ends up becoming a much more darker person that nobody really could have anticipated. But, this episode takes a weird turn and not a good turn, but more of a very confusing and almost annoying way.

That way is as follows, forget Jay Garrick ever existed folks, because he never truly did.

With all the hype surrounding the multiverse and all the potential that it holds, our dream of seeing multiple Flash personalities now reverts back to one, for the time being. After much digging around and the discovery that Jay is actually Zoom, this episode takes its time to shove it all right back in our faces. The blue lightning, the sudden discovery that “Jay” told Caitlin that his doppelganger on Earth-1 was named Hunter Zolomon and the degenerative disease caused by the Velocity-6 all pointed back to Zoom. Instead, it was decided that Jay Garrick would actually just be a veil for Zolomon in a way to pull a Eobard Thawne and gain trust within the team and cure him or end up stealing Barry’s speed force. I’m sorry, but that just kind of blows a huge hole in all things Flash.

Now, I am not the writers of the show, so what I say has no bearing on this, but why would you take the name of one of the past Flashes and use it in the sense that he doesn’t actually exist, but just so happens to be a made up name by the main villain and even going so far as to use his likeness. A subtle nod, yes, but a fun one? No. Now I am not against the altering of source material, but this just seemed off.

To be honest, I get staying away from other Flashes because of the want to focus on the development of Barry, but come on, you have this blooming world and instead you go and pull that? There are a bunch of different routes to go with concealing the villains identity. Unless the plan is to introduce Jay sometime down the road, this was a small punch to the stomach for those who were ready to see two Flashes exist and hopefully team up against Zoom. Next, are we going to find out that Wally West is actually some random kid who manipulated Francine West and used Wally’s name just to get close to Joe and Iris? Kidding, of course.

In all reality, I hope it’s actually a ploy to hide the fact that Jay does actually exist and Zoom just stole the name. But, the origin story continues. Later on, we find out that Hunter goes on a killing spree and is convicted as a serial killer and it’s when the doctors at the mental asylum are performing electroshock therapy, it is conveniently at the time that Earth-2’s S.T.A.R. Labs explosion occurs, fusing speed powers with Hunter, creating Zoom. All aside my issues with some of the story, I do actually like the concept of a darker villain.

With all the focus on getting back to Earth-2, Barry is continuing to get faster, using the tachyon particles to increase his speed, we get a small sight of Keystone City, which, ironically, is the home to Jay Garrick. Barry is more powerful than ever, clocking four times his top speed, raising some suspicion early on that he might not have his power much longer, or at least, that was my suspicion. With an odd lack of metahumans (are they just all of a sudden not surfacing anymore?), Barry is consumed by the thought of Zoom wreaking havoc on Earth-2, and is adamant about bringing the fight to him.

Without having the accessibility of the breaches to transport between worlds, the team must find a way to open a door to the parallel planet. Despite the obvious burst in strength and speed, Wells is wholly against the idea, fearing the outcome of Zoom reentering Earth-1, Jesse is out in the world somewhere, hiding under the radar and that is all that Wells is focused on. Through trial and error, the team is out of ideas, the last being setting off a nuke near Central City’s power grid. Without a plan, the team begins talking about Cisco’s doppelganger and his ability to tap into the vibrations between worlds and manipulate them to emit blasts and other powers.

Without hesitation, Barry immediately spurs the idea of using Cisco to do the exact same thing. What obviously concerned Cisco was his hesitation to explore his powers, regardless of what he knows he is capable of. Nonetheless, he goes along with it. Using the goggles that Wells developed to wield the energy and begins to open a portal out of thin air. On the receiving end was a distraught Zoom, who immediately perks up when he realizes what is happening. This lasts only for a moment before Cisco breaks, refuses to proceed further and dips away. Unknown to his outburst, we discover that Cisco’s temptations to further his power is outweighed by his fear to the “dark side” and becoming “Darth Vader.”

Side note, I audibly laughed due to Disney owning the Star Wars universe, and also the Marvel universe.

Struggling to hone his skills for fear of becoming the evil part that he was face to face with on Earth-2 is enough reason to refrain, but it’s the assurance that Barry gives him that he will be there every step of the way that brings him back from the basement. With Cisco back in the game, it was time for the end game, defeat Zoom. Using the energy, Cisco opens the breach for Zoom to travel through, setting up a big game of cat and mouse through Central City.

Setting off, Barry out runs Zooms the whole way through, coming close, but ultimately pulling through. He leads Zoom back into the labs, in an open warehouse, ready to spring the trap. Zoom runs into the warehouse and is stopped in his tracks by familiar faces, once by a cutout of his father and the other by his mother. Shell shocked by the nightmarish scene, Barry manages to cuff him to the ground, seemingly capturing him. Barry goes through this whole I got you scenario, but Zoom thwarts him once more, going full “darkness” and vibing through the shackle and speeding off.

Doing what he does best, Zoom takes another prisoner, Wally West.

In another subplot, Wally and Joe are clearly getting better and better, developing a relationship as a father and son versus strangers with the same name. Wally brings laundry over one day, saying that he isn’t living on campus anymore because of costs and it goes over Joe’s head that he is hinting at wanting to move in. Joe says that he can help out financially, but it’s not until Barry reveals Wally’s intentions that Joe does a complete 180. Wally comes back later on to Joe offering him a room, further closing the gap between them and inching closer to a true relationship.

Realizing that Zoom has taken Wally, the obvious trade is proposed, Barry’s speed for Wally. Tormented by the keep his powers or return Joe’s son to him is one that seems like it would be a hard decision, but Barry wastes no time debating and instantly offers his force to Zoom. His goal is to protect the ones he loves, and he spared no time in doing that again. Through Cisco yet again, he uses the helmet to open communicates with Zoom that the deal is on, and he promptly delivers. With Wally in tow, they make the handoff. Using the device to tap into Barry’s speed force and drain it, he proceeds to do so and hands over his speed to Zoom, who shoots up on the literal speed and shows signs of massive power. Weakened by the sudden mortality and return to human form, Barry is blindsided by pure aggression, as Zoom attacks him. Caitlin pleads out to Zoom, claiming that he doesn’t have to do it. Their relationship is still in there, somewhere, and Zoom feels it.

Then, another eye-rolling thing happened, Zoom took Caitlin.

Just like that? Like, come on, it’s not even like they’re trying. It’s basically just a giant game of tag with Zoom, he just selects people to take hostage, and just does it.

Overall, this episode has some good points, but just seemed to fall short of anything resembling how the DC shows have operated this late into the season. There was some obvious drama, laced with just shrugging moments and “why?” moments. The lack of any real conflict is just simply causing this show to, ironically, slow down and a massive pace.

Obviously the bust out of Jay being real is the tipping point, but it’s the two hostages in a matter of 10 minutes that really just show a level of naivety. If I had my one change, I would have Zoom take Barry and have a more dramatic episode of the team attempting to find Barry or concoct a plan to boost his speed again and have a by dynamic playoff between Zoom and Barry. That simple change would have created an actual want to see what happens. Of course I want to know, but I wasn’t left with the craving for more, just a small curiosity how they open things up for the remaining episodes.

Side bar, Greg Berlanti has tweeted that viewers should keep watching regarding Jay Garrick, so fingers crossed I guess?

What were your thoughts? Comment below!

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The Wonder Woman Comic You Need To Be Reading Right Now

Nick Enquist

April 20, 2016

Wonder Woman’s brief, but awesome role in Batman V. Superman: Dawn of Justice has given her a surge of popularity. Since her first live action film debut has been overwhelmingly positive it’s time to talk about some of Diana Prince’s awesome comic books that can be recommended. A comic that older fans can appreciate, and newer fans can dive into without having to constantly check Wikipedia for explanations about DC Comics ever confusing continuity. It would be extra awesome if that book was great for kids too. Thank Hera that The Legend of Wonder Woman exceeds at everything needed to get new fans hooked on the character.

This 9 issue limited series is not just a fascinating reimagining of the character that’s great for fans, but it is also a wonderful, epic, and engaging story for all ages. It retells Wonder Woman’s origin from being a princess on Themyscira, to her introduction to Man’s world, to eventually becoming the superhero Wonder Woman. The series started as a digital release first, and is now being printed at the time of this article. It’s being written and penciled by Renae DeLiz, and her husband, Ray Dillon is inking and coloring the series. Both have worked together adapting great fantasy novels such as The Last Unicorn, and Peter Pan. The idea of Legend of Wonder Woman was to create an accessible for all audiences origin story.

The key word there is “accessible” and it’s an important word in this case, because superhero comics can be very inaccessible. The Legend of Wonder Woman does away with the continuity of other books and just focuses on its own storyline. This makes it a lot easier for new readers to get into and is unique enough for older readers to see a new iteration of the classic character. Plus, so many of DC’s greatest stories are in their own little separate universes. The Dark Knight Returns, Kingdom Come, and Superman Red Son weren’t great stories because they were building off established continuity. They were great stories because they focused on their own stories.

The Legend of Wonder Woman is focusing on the origin of Wonder Woman much like how Batman Year One focuses on the origin of the The Dark Knight, or how Superman Birthright is the origin of The Man of Steel. And much like those two, “Legend” goes deeper into the character of Diana and shows us how she came to being, her desire to protect her home, and where her ideas of compassion stem from. It also borrows heavily from the world of Greek Myth, and reinforces the established lore that character came from. But, what makes the story really work, is that the it’s told simply. This doesn’t mean that there’s not complexity in the narrative, but it’s presented for the reader to want to learn more about the world surrounding Diana. The story focuses entirely on her growth, and her conflicts in becoming Wonder Woman, which is where it should be. Any good fantasy writer knows that the lore surrounding the main plot can be complicated, but the through narrative has to be presented in a simple way to hook the reader. This what makes classics like The Hobbit, Game of Thrones, and Hitchhiker’s Guide to the Galaxy so strong. They gave the reader just enough to want more about their respective world, but it never took away from their main plot.

The series is similar to the recently released Wonder Woman: Earth One (which, I actually reviewed a few weeks ago), but the two are totally different in style. While “Earth One” focuses on the philosophical discussion of sexuality, and matriarchal ideals, “Legend of” is an adventure fantasy. This makes it a great book for an all ages audience; there’s an epic feeling with the mythological elements, but there are beautiful character moments that are small yet distinct and welcoming. There’s also a large cast of great characters that Diana bounces off beautifully, Etta Candy in particular is one of the best parts of series. And the book doesn’t shy away from a larger DC universe either, there are references to Plastic Man, and the Justice Society of America, great interactions with great characters like Perry White, Johnathan Kent, and a wonderful cameo from a little Alfred Pennyworth. It builds on, and embraces a full universe that’s familiar, friendly, and enjoyable for DC fans.

What also makes this story so great is how it’s still completely accessible to everyone who reads it. It’s easy to follow, but the dilemmas and emotional weight are still dramatic and effective. The audience isn’t given cookie cutter, easy morals that involve obvious bad guys fighting with the obvious good guys. Instead, we see Diana learn and grow as an individual through small moments of dialogue that stay with her and evolve her as a character. Some of these moments don’t have easy solutions, and teach us that sometimes doing the right thing isn’t easy or has an obvious answer, but we see Diana make those choices. This Wonder Woman is a character that children (and adults) would want to emulate in their own lives. We want to be like Wonder Woman: loving, compassionate, and honest with those around us and ourselves.

Plus, from an aesthetic standpoint, the art is just beautiful. Renae DeLiz and Ray Dillon work together to create some of the most magnificent artwork in the industry. Renae DeLiz’s designs and pencils give each character a unique detailed look, and all the monsters and creatures have a level of creativity that is just fantastic. Ray Dillon’s colors are bright and diverse; each panel in the book is a gorgeous scene that is unlike most mainstream books. Hell, buy the comic just so you can look at the amazing images it has, it’s worth the price tag just for that.

So, I know what some of you are thinking right now, “okay this comic is pretty, it has a different vision of the Wonder Woman origin story, and it’s a good comic book for kids. Why is this such a big deal?” And to some extent, there’s a point to be made there. DC will print all 9 issues, there’s going to be a graphic novel version, and it’ll have a fairly large number of fans like myself. However, there are two reasons why this comic should matter to everyone who’s a fan, old and new.

First and foremost, is that it goes against the notion that modern superhero comics are inaccessible for new readers. This is a complaint I hear a lot about DC Comics in general, and since the company continues to focus on large crossover events it’s easy to sympathize with the struggles of a new reader. (Though to be fair, Marvel is not innocent of this misdeed either). As a fan, it is hard to explain to my non comic reading friends what books to read without having a ten minute conversation about what Crisis on Infinite Earths and Flashpoint are. This book is a fantastic way to herd in a new audience without making a huge event out of it, or rebooting anything. This is a form of superhero storytelling that should be encouraged in the comic book market place.

Secondly, the final issue of Legend of Wonder Woman is hopefully not the end of DeLiz and Dillon’s stories. The two have plans to continue Wonder Woman’s tale, and write a prequel story about the Amazons. But, wait there’s more! Not only do they want to do all that, but they also want to give every Justice League member their own “Legend of” series. From an artistic standpoint, wouldn’t it be awesome to see these two interpret Krypton, or Oa? Imagine this level of detail and beauty for Atlantis as Aquaman takes on a Kraken, and Gotham City during Bruce Wayne’s first night as Batman. And then after those comics there would be a “Legend of the Justice League,” where all these characters would join forces.

That all sounds pretty awesome right? Well unfortunately the sales of this book haven’t been great. They haven’t been horrible, but they could be better. However, it is disheartening to see this fantastic book get overlooked for uninteresting, repetitive (and sometimes very poorly drawn) dreck. Luckily there is some hope for this book, as the comic’s digital sales have been strong, there’s a lot of support on social media, and the comic is now nominated for an Eisner award. It is the only Wonder Woman comic to ever be nominated for an Eisner, which is pretty amazing. This is allowing DC to be more open about DeLiz and Dillon’s plan for an accessible Justice League superhero universe.

Above all else though, Legend of Wonder Woman gets to the core of what makes this character so great. It’s a genuine retelling of her origin story that doesn’t exclude anyone, and shares the love and kindness Wonder Woman is known for. We as readers have the chance to help its success by letting DC know that we want to see more of these stories. The over the top crossover events and reboots, both soft and hard, are never going to go away, and they can be very enjoyable. But, there is nothing wrong with having another series of stories that are more inviting and open to allow new readers to dip their toes in the pool. And for experienced fans to fall in love with these characters all over again.

Whether you’ve never read a Wonder Woman comic in your life, or you’re an avid collector there is something here for you. Don’t let it go away with just one story. Hopefully, I have convinced you to buy the first four issues that are in print, or to purchase the digital copies. But, let the publishers know that we want more of these stories and this fantastic art. Talk about it on social media, let your retailers know about the series, and tell all your friends about it. It’s definitely worth a higher level of attention. Hopefully, we can show DC Comics that this is a series that is worthy of its legendary status.

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Marvel Releases “Choose Your Side” Trailer for ‘Civil War II’

Anthony Composto - EIC

April 20, 2016

While everyone is gearing up for Marvel Studios’ release of Captain America: Civil War on May 6th, Marvel Comics has quietly been trying to build anticipation for their own summer blockbuster: Civil War II. The event is a sequel to the 2006 story that inspired the upcoming film, but doesn’t seem to share any relation in terms of plot.

Marvel revealed the teams for Civil War II last month, and the teaser shows the players in action while revealing some awesome artwork.

The drums of war beat for the Marvel Universe this June, as the Earth-shattering CIVIL WAR II #1 comes to comic shops and digital devices with a jam-packed double-size issue! Blockbuster creators Brian Michael Bendis, David Marquez and Justin Ponsor bring you a tale of hero against hero – and a Marvel Universe divided. A new power has emerged, one that can predict the future – for good or for ill. Standing on opposite sides, will the heroes use this new power to prevent danger before it happens? Or will they fight to allow tomorrow to unfold unaltered. Battle lines will be drawn. Lives will be changed. Heroes will fall. Do you stand with Captain Marvel? Or will you side with Iron Man? Choose your side!

Are you excited for this event? Let us know in the comments!

Civil War II begins this June.

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Why it’s Good if Negan killed Daryl on ‘The Walking Dead’

Jon Barr - TV Editor

April 20, 2016

It’s hard to say exactly who was killed in The Walking Dead’s season six finale. The show runners purposefully made it an ambiguous ending, giving fans ample time to argue and debate about who’s head just had a violent encounter with villainous Negan and his trusty bat Lucille. And out of the 11 main characters that could have been taken out, what would it mean for the show moving forward?

Since nearly the beginning of the show, fans rallied around the character of Daryl Dixon. His fighting skills and bad attitude made him a rough, lovable character. Daryl’s essentially the Wolverine of The Walking Dead – but, much like the comic iteration of the character, perhaps it’s time for him to meet his end.

Sure, Rick and Michonne are the leads in name, but Daryl’s the one that has “if he dies, we riot” paraphernalia. And his death would do good as far as re-shaking the status quo. It’s also not as if we’re out of badass characters. Michonne, Sasha, and Abraham are all venerable powerhouses, and this whole season’s arc has been about bringing the Alexandrians up to snuff on fighting. And now that he’s no longer under the influence of his less-than-savory brother Merle, he’s not so much of a hardcore anti-hero as much as a curmudgeonly set of muscles and arrows.

And with the absence of his key characteristics from the early seasons, it’s also easy to see he isn’t getting any storylines that are all that important. In the early seasons of The Walking Dead, he had to balance out his love for his brother with his relationship with the group, but he’d gotten past all of that by the end of season 3, when Merle got killed. After that, Daryl had a particularly Wolverine-esqe storyline, as he became a mentor-guardian of Beth after the fall of the prison. But, much like Merle, Beth died, giving Daryl nothing but a quick crying scene and a lack of things to do.

This season, he used a rocket launcher on some Savior bikers, clashed with Dwight and his sickly friends, but who cares? Everyone this season had to deal with Saviors. Maybe if Daryl had made the rocket launcher part of his permanent look, there’d be more chances of revitalizing the character. But there hasn’t been anything to make us think we’ll see that.

However, it’s hard to say what good killing Daryl would actually do. It would certainly re-cement the idea that any lead could be killed, but they could accomplish the same feeling killing a character like Michonne, Glenn, or Maggie. While The Walking Dead certainly isn’t short on viewers, the death of Daryl might be enough to push some viewers away. And while a solution to having a less prevalent character is killing them, it isn’t necessarily the best option. They could easily give Daryl more to do, based off of how he reacts to whoever’s death.

Basically, the overarching problem with recent seasons of The Walking Dead is they’ve abandoned their policy of picking off characters left and right in favor of fan service, notably with the survival of Daryl Dixon. To put it bluntly, there’s nowhere else for that character to go. We’ve seen all the development we’re likely to get for his character, and the only justification for keeping him alive is that he had some sort of survivalist upbringing. Many people may be ready to pick up their torches and pitchforks if Daryl dies, but he’s had his time on the show. His death could herald a new era for the show, and be a much-needed catalyst for kicking the show into second gear – or, as Eugene would put it, “Level 2.” Something’s got to break, and so does someone’s face. If the fans were reacting so poorly to the finale’s cliffhanger, you may as well lean into the anger and take down the biggest fan favorite.

This article is part of a ‘The Walking Dead’ series. Read also about the benefits of the death of Carl and Maggie.

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Review: Superman American Alien #6 “Super-Friends”

Gary Moloney

April 20, 2016

When this series began, I would pipe on and on about DC’s Superman problem. Outside a select few stories, the last few years of Superman media had left me weary. Fans were treated to a big-screen version of everyone’s favorite boy scout, but it was clear that Synder just didn’t seem to understand the character. We were left with a drain palettes and darker prospects. Thankfully, the story of Kal-El has always been on of hope and Max Landis’ Superman: American Alien has reminded us all of that. It has re-invigorated my connection DC’s Man of Steel in a way I didn’t think possible. Not since Red Son has a Superman series been so intellectually engaging or sophisticated in its story-telling mechanisms. It has the heart of Smallville with a frankness that we often don’t see in comics. The last few issues have been written from Clark’s perspective, but with issue six, we finally get to look at how the outside world reacts to Superman as two of the Man of Tomorrow’s best friend stop by.

This issue begins with Pete Ross and Kenny Braverman traveling to Metropolis for the first time since Clark became Superman. As they catch up with each other, the Smallville crew begin to discuss what Superman means for the world and what that might mean for their friendship. The last issue was the most “Superman-y” of the series thus far, featuring Clark’s first really super villain encounter and adopting that all-too-familiar identity, bu this entry slows the pace and examines Clark through the eyes of his best friends. What does it feel like to so close to a god? How do you react to someone you’ve known your whole life is becoming a symbol for others to aspire to? These are things Pete and Kenny are struggling to deal with as the Clark they know changes. There’s no fist fights, no jobs for Superman. The conflict here is how three close friends come to terms with the natural development of their relationships and the progress of their own individual journeys.

In a recent interview, Landis hypothesized that this issue would leave fans in tears and it’s easy to understand why. There’s a moment early on in the issue where Clark releases that he’s somehow managed to miss out on the fact Kenny is getting married, and he is distraught at the very notion of not having been there for his friend at the pivotal moment in his life. Clark is reaching that point in his life where one becomes so busy that things can slip by, when friends can grow apart and become isolated. This is a beautiful tale about close friends walking different paths, who unite to reminiscent, re-acquaint and fight, in the grand tradition of doing what best friends do best. It captures the bonds of friendship in a meaningful way. True friends are like a family; sometimes they can be brutally honest, not out of spite, but out of genuinely wanting to see you fulfill your potential. They push you to strive to be better and to be the best version of yourself. Life sends us away from those friends we need the most, the ones who are always there for you. You may be terrible at keeping tabs on them. You may fall out of contact, but those moments you spend together are among your most lasting memories. From the drama of two friends almost coming to blows over the lack of direction in the other’s lives to deep cuts at the expense of the “glasses as a disguise” trope, Landis is simultaneously devastatingly emotional and humorous in equal measures. He presents these characters, not in a cynical way, but rather a grounded one. This isn’t a “dark and gritty” take on Clark Kent’s journey. It’s a coming of age story, one of self-discovery that uses the Superman framework to tell tales about our common human experiences.

This issue’s artist is Jonathan Case (Batman 66′ and The Creep) and he done an amazing job. He isn’t given as much to work with in terms of action scenes, but his style is reminiscent of the relaunched Archie series. It’s the perfect fit for a character-drama and that, ultimately, is what this issue and the series has been geared toward. The use of graffiti and street art to highlight Superman’s growing influence in Metropolis is used to exquisite effect and really gives Case the chance to show off his more creative side. The cover artwork, also done by case, is also worth mentioning. This is my favorite cover of the series with “Where Wally?” motif that is quite evocative of the inspiration that Superman instills in the public consciousness. As good as the others have been, if they don’t use this as the cover for the collected edition, they’ll have missed out on an amazing opportunity.

When I compare this series to Smallville, understand that there is no higher praise I can give a Superman comic. In the wake of Rebirth, DC is going to be pushing the Superman family of books harder than we’ve seen in many years. The future is bright for the Last Son of Krypton, Superman: American Alien has given all other books in the line an ideal to aspire to. Let’s pray that one day they join it in the sun.

A review copy was kindly provided by the publisher.

SUPERMAN: AMERICAN ALIEN #6 Five-Page Preview

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‘The Huntsman: Winter’s War’ Review: Maybe Winter Isn’t Coming

EJ Moreno

April 20, 2016

The Huntsman Is At War With Winter And Bad Writing

What did you expect from the prequel/sequel to a quasi-reboot of a classic fairytale?

No one thought ‘The Huntsman: Winter’s War‘ was going to be a stellar film but there was glimmers of something better among the icy rumble. Where this film fails the most is trying to tell too many stories about events leading up and following the fairly simple story in 2012’s ‘Snow White & The Huntsman“. Focusing efforts into only one of these plots would have helped center the film.

Going into the movie, my expectations were low. All I really wanted were some fairytale elements & stunning visuals. While I got a wonderful storybook-style narration from what sounds like Liam Neeson, the CGI was a bit lackluster. For the director Cedric Nicolas-Troyan to be a visual effect artist, I expected some insane visuals but most were repeats from the first film & generic landscapes. With such bold elements like gold and ice, the effects could have been so striking when facing each other but it was wasted on cheap tricks.

Problems can also be found in the film’s pacing. The fight scenes would start to get good but then stop early in order to have more melodrama. Action wasn’t the only thing cut short. So was the tension. The film had a long enough running time that it could have prolonged a few reveals. Things were rushed in order to get to the next scene but they never paid attention to the moment at hand.

One of the few saving graces were the dwarves. Played by the returning Nick Frost and new faces Rob Brydon, Sheridan Smith, and Alexandra Roach, the team provided some laughs from even the most cynical viewers at the press screening. I don’t want to sing their praise too loudly as the studio might catch wind & give them an unnecessary spin-off…

Speaking of unnecessary, why would Charlize Theron attempt to match the accents of the film when she knew she wouldn’t keep it up throughout. This was Halle Berry in ‘X-Men‘ level bad. She would sometimes dip out from her faux-English accent to her regular voice within the same sentence. We know she is a powerful actress but why did she try that? At least it was better than Jessica Chastain having to do her best Merida from ‘Brave‘ impersonation.

Rounding out the cast was Emily Blunt as Elsa, I mean Freya and Chris Hemsworth as the titular Huntsman. Yes, The Huntsman does have a name but no one cares about some dude named Eric. Blunt’s performance as Freya was a few ice-puns away from Mr. Freeze level of ridiculous. Her character did have the best arc but it was thrown to the background as Hemsworth & Theron fought for all the attention. Chris “Forever Thor” Hemsworth did his best axe-swinging & mumbling; basically all I was going to be getting from this role.

Will you be seeing ‘The Huntsman: Winter’s War’ this weekend? The film starring Chris Hemsworth comes out April 22nd, 2016. Expect it to have fairly weak competition at the box-office.

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‘Suicide Squad’ Wayne’s World Reshoot Trailer

Matthew Sardo

April 19, 2016

‘Batman v Superman: Dawn of Justice’ polarized audience to where the one glimmer of hope for the DC Cinematic Universe, ‘Suicide Squad’ is taking some flack for its reshoots to inject more comedy into David Ayer’s film.

Yet…

You knew it was only a matter of time before someone made a ‘Wayne’s World’ remix of the ‘Suicide Squad’ trailer. That someone is the fine folk over at Lowcarbcomedy.com. Like the celebration of Festivus, there is an ‘Airing of Grievances’ in this teaser. Watch with caution DC Cinematic Universe fans.

‘Suicide Squad’ gets the big screen treatment on August 5.

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Rock And Rose: Axl Rose Joins AC/DC

Jonathan Bruce

April 19, 2016

Do you like AC/DC? Do you like Guns N’ Roses? Do you have an appetite for rock?

Fans of rock music will no doubt be tickled pink to hear the good news. Axl Rose is set to join AC/DC for their 2016 tour.

The Guns N’ Roses frontman replaces Brian Johnson, who left the hard rock band due to hearing loss. He will perform with the group for the European leg of their Rock or Bust Tour. According to Rolling Stone, AC/DC released a statement confirming Johnson’s retirement. They stated, “As much as we want this tour to end as it started, we understand, respect and support Brian’s decision to stop touring and save his hearing.”

AC/DC, 2016 tour — Brian Johnson performs with AC/DC guitarist Angus Young

It should be noted Rose is just filling in for Johnson. He will not become an official member of the band. When the tour ends, Rose will rejoin Guns N’ Roses bandmates Slash and Duff McKagan on the Not in This Lifetime Tour.

Curiously, this is not the first time Rose has ventured into AC/DC territory. In 1987, Guns N’ Roses covered “Whole Lotta Rosie” during a show at the Marquee Club.

[embedyt] http://www.youtube.com/watch?v=04_XJZ67MIA[/embedyt]

AC/DC’s tour resumes on May 7 and ends on June 12. Their planned American dates will be rescheduled in the near future.

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