With the premiere of the Captain America: Civil War trailer, fans of the Marvel Cinematic Universe are readily anticipating the next chapter in the Marvel films. Showcasing a clash between Captain America and Iron Man, loosely based on the Civil War storyline from Marvel Comics in 2006 and 2007, Civil War looks to be a pivotal chapter in the ongoing mythos, and the first cinematic appearance of Black Panther is a big part of that.
A character familiar to fans of the comics, but maybe not so much to fans of the Marvel movies, Black Panther, represents a step forward for the next slate of Marvel films in a couple different ways.
Photo: Marvel Comics
Black Panther is a Head Of State
Black Panther is a title given to the head of the Panther Tribe, and the ruler of the African nation of Wakanda, first mentioned in Avengers:Age Of Ultron. An isolationist and technologically advanced nation, Wakanda is the sole source of Vibranium (the metal that Captain America’s shield is made of).
To put it simply, he is the king of an entirely self-sufficient nation that can and has defended itself from various threats, both super-powered and otherwise. The title is hereditary, but still must be earned by the heir to the throne. T’Challa is the current holder of the Black Panther mantle, having inherited it from his father, T’Chaka, who had a relationship/friendship of sorts with Howard Stark (Tony’s dad)
He was the first black superhero
Debuting in 1966, Black Panther was the first black superhero. There have been other black supporting characters that debuted earlier, but Panther was the first black character with super powers and the first to have his own solo title. Being portrayed by Chadwick Boseman (42, Get On Up) in Civil War, his solo film debut will come in 2018, and will be the first Marvel Studios film to feature a black lead.
Black Panther takes on Captain America Photo: Marvel Comics
Smarter than Tony Stark, Stronger than Steve Rogers
Rigorous training through childhood and adolescence along with the survival of various trials of combat and strength have made T’Challa a force to be reckoned with. Upon ascension to the throne of Wakanda, he consumes a special heart-shaped herb that enhances his natural abilities past Olympic levels, makes him resistant to magic, and increases his senses of smell and sight to supernatural levels. He prides himself on being a scholar and inventor, having designed a myriad of vehicles and weapons used for his country’s defense. Throughout his time in the comics, he has gone blow to blow with both Iron Man and Captain America and has come out on top on multiple occasions. He also has a Ph.D. from Oxford.
The coolest looking suit in the MCU
Vibranium weave, thrice-blessed armor, and anti-metal claws, the Black Panther suit cuts an imposing figure. Considered the traditional garb of the ruler of Wakanda, the suit is easily as advanced as Iron Man’s armor and as versatile as Captain America’s uniform. It has energy dampeners (to reflect anything from bullets to blades), can project a hard light shield, and it even has a cloak.
Civil War looks to be a solid film, and another great offering from Marvel Studios, the introduction of Black Panther represents something bigger. A black character that is on equal footing with other established characters the capability to match them.
Victor Frankenstein, the new take on the story of the good doctor and his famous monster, has a bit in common with both fictional creator and creation. Like the doctor, it’s ambitious and highly unconventional in terms to its approach to the source material that inspired it. Like the monster, it’s a deeply flawed hodge-podge of bits and pieces of that same source material, resulting in a wildly uneven and superficial film, full of striking production design and ghastly sights and sounds, but wholly underwhelming character drama and depth of thought or emotion.
London, 1860, at the height of the Industrial Revolution. Having lived almost his entire life as the lowliest of clowns in a traveling circus, a nameless hunchback (Daniel Radcliffe) makes his day-to-day existence bearable with intense study of human and animal anatomy and his one, real friendship with a fellow performer, a beautiful acrobat named Lorelei (Jessica Brown Findlay, “Downton Abbey“). A accident one night during a performance forces the hunchback to put his knowledge and skills to work to save a life in front of dozens of witnesses, including a Royal College of Medicine student named Victor Frankenstein (James McAvoy). Immediately recognizing the hunchback’s intellect, breadth of knowledge and skilled hands during the successful emergency treatment, Frankenstein spontaneously offers to help the hunchback escape from the circus, an offer the circus owners do not take kindly to at all.
Despite their cruel efforts to keep their clown in his cage, Frankenstein does succeed, albeit messily, in getting him out. Within hours of the escape, the hunchback discovers that his new benefactor is every bit as maniac as he is brilliant and driven, as Frankenstein reveals his true motives for lending a helping hand. He’s in need of an assistant in his work, but not just any assistant — one with gifted surgical hands as well as a knowledge and understanding of physiology that rivals his own. The work in question? Nothing less than finding a way for humans to cheat death using parts of dead animals the good doctor has “obtained”, of course! Grateful for his newly uplifted life and fascinated by the potential he sees in Frankenstein’s theories, the hunchback, now dubbed “Igor Straussman”, agrees to lend his aid.
Complications develop when Scotland Yard detective inspector Turpin (Andrew Scott, SPECTRE) begins an investigation into Frankenstein’s connection to the events at the circus and the nature of his secretive work, while Igor ventures out into the world away from Frankenstein’s home and laboratory to re-connect with Lorelei, now the consort of a wealthy London aristocrat. Despite Igor’s growing concern over Frankenstein’s obsessive and reckless behavior in regards to his goals, the two men push their efforts forward at a fevered pace, until at last it seems that the doctor is truly on the verge of creating life. But the danger mounts as the doctor prepares to take that final step, and it falls to Igor to pull his friend back from the madness that threatens to overcome him, even as others position themselves to either exploit the fruits of his genius or put an end to the work and the man forever.
What’s immediately striking and different about the approach to the Frankenstein story taken by screenwriter Max Landis (American Ultra, Chronicle) and director Paul McGuigan (BBC’s “Sherlock“) is the choice to make Igor, not Frankenstein, the viewpoint character and heart of Victor Frankenstein. It’s a move that certainly justifies the casting of Radcliffe, who projects the right blend of intelligence, compassion, and boyish charm to pull of this interpretation of the character, which is more fully developed here than in any previous incarnation. But the fact that Igor really is the main character here should tell anyone who knows the source material just how much of a departure this film is from what’s come before, as the character didn’t even exist in Mary Shelley’s original 1818 novel, and has only appeared in a handful of Frankenstein films, most famously in Mel Brooks’ classic comedy Young Frankenstein. This is all-new territory for cinematic depictions of this story, and to the film’s credit, they stay committed to it from start to finish.
But for all that ambition and willingness to chart new territory, the fact that Victor Frankenstein falls back on cobbling together a weird pastiche of other familiar Frankenstein tropes in order to make up the balance of the film outside of Igor’s story makes you question why did they bother with anything original at all. Yes, James McAvoy’s energetic performance here as the mad scientist is at times fun to watch — mainly he does a lot of running around, yelling, and grinning like, well, like a mad scientist — and he and Radcliffe play off of each other well in perhaps the year’s most unusual cinematic “bromance.” But the motivation they eventually reveal for Frankenstein’s fevered dedication to his work is poorly-developed and paper thin, as is the romantic connection between Igor and Lorelei and the religious fanaticism that drives Turpin to pursue Frankenstein beyond the boundaries of his office. Those subplots and attempts at character depth just end up feeling like filler to prolong the wait for the scene everyone goes to a Frankenstein movie to see: the lightning-powered birth of the monster. And make no mistake: when the film finally does get around to that, not only is it disappointing, but it turns out to be a cheat. To elaborate on that further would be to give away spoilers, but suffice to say that it’s not what audiences are led to believe it is at the outset.
As to all those nods in Victor Frankenstein to Frankenstein films and stories that have come before, and there are lots of them, from the look of Frankenstein’s laboratory and the castle that serves as the setting for the film’s climax (admittedly, very impressive) to the clever nod to Young Frankenstein that’s been featured prominently in the film’s marketing, just how much fans of these movies enjoy and appreciate them will be determined entirely by how receptive they are to the plot and thematic changes in the rest of the film, which, if you haven’t picked up on by this point in the review, is undeniably a mess. Is it the worst Frankenstein film ever made? Hardly — that honor arguably may still belong to last year’s I, Frankenstein. But if you’re a fan of monster movies, and in particular bad monster movies, or you’re just looking for something a bit over-the-top and silly to enjoy at the movies this holiday weekend, then this might be the movie for you. Otherwise … well, just stick to the original Shelley.
Victor Frankenstein
Starring Daniel Radcliffe, James McAvoy, Jessica Brown Findlay, Andrew Scott, and Charles Dance. Directed by Paul McGuigan.
Running Time: 109 minutes
Rated PG-13 for macabre images, violence and a sequence of destruction.
As we all get prepared for Thanksgiving, all the Star Wars Fans would like to give thanks to J.J. Abrams for releasing yet another wonderful T.V. spot promoting Star Wars: The Force Awakens. This one minute long commercial continues the trend over the last couple of spots where it focuses on one particular character and in this instance the focus is Kylo Ren. Is it me or do these T.V. spots just get better and better?
Lucasfilm and visionary director J.J. Abrams join forces to take you back again to a galaxy far, far away as “Star Wars” returns to the big screen with Star Wars: The Force Awakens.
Episode VII in the Star Wars Saga, Star Wars: The Force Awakens, opens in theaters December 18, 2015.
Star Wars: The Force Awakens, directed by J.J. Abrams from a screenplay by Lawrence Kasdan & Abrams, features a cast including actors John Boyega, Daisy Ridley, Adam Driver, Oscar Isaac, Andy Serkis, Academy Award winner Lupita Nyong’o, Gwendoline Christie, Crystal Clarke, Pip Andersen, Domhnall Gleeson, and Max von Sydow. They will join the original stars of the saga, Harrison Ford, Carrie Fisher, Mark Hamill, Anthony Daniels, Peter Mayhew, and Kenny Baker.
The film is being produced by Kathleen Kennedy, J.J. Abrams, and Bryan Burk, and John Williams returns as the composer.
As 2015 comes to a close, so does another con season. Sure, depending on your fandom there is no doubt a con happening any weekend of the year. Still, the big ones; San Diego Comic-Con, New York Comic Con, MegaCon, Toronto Comic Con, C2E2, Gencon, plus many more have come and gone. Those who have attended a convention know that a con weekend is not a vacation but an adventure that can leave the individual feeling drained and feeling like their tank is on empty. This is what is known as post con syndrome.
Post con syndrome is nothing new to anyone who has attended a convention. What people may not be aware of is there is more than one type of post-con syndrome. Luckily there are some very easy solutions to cure themselves of these afflictions. The following is ten syndromes an individual can experience after a convention and ways to remedy each of them.
1. Con funk
While attending a convention the expression “con funk” refers to the terrible smell that comes from too many people being in a closed area at one time. After the convention though Con Funk refers to the depression because you miss your convention chums and the vibe that the con seems to radiate. You feel drained and wish you could just snap your fingers and be back at the con with everyone.
Remedy: Get a group gathering together of your geeky buddies. A good game night will help ease the burden of con funk and reminiscing about the weekend will help.
2. Con plague
Con plague is a term which means the same thing at and after the convention. Its when you come down with an illness at the event and are finding yourself inadvertently affecting others. Once home you will have to find a way to cure yourself of the con plague in a timely fashion or risk it affecting your everyday life.
Remedy: Get some rest and drink some fluids. If your symptoms don’t go away after a few days you may want to consult your healthcare provider. (NOTE: Monkeys Fighting Robots is not a recommended medical alternative. It’s only a geek news website and should be treated as such.)
3. Buyer’s remorse
You return home with the treasure you obtained at the convention, check Amazon, eBay, or another online store and immediately realize that you have overpaid for the item in question. You will be immediately filled with a feeling of buyer’s remorse and the new addition to your collection may feel a little more special because of it.
Remedy: This one is more of a preparatory for next time. Look up the item you are planning to hunt down at the convention and see what a is a good price to pay for the item. If you have a smartphone or if your friend has one then you will have the ability to look up the price while at the convention and avoid Buyer’s Remorse entirely.
4. Con fatigue
The weekend was draining, and no one will be quick to argue with you. You are tapped out and will now need to deal with a bunch of other daily errands and chores which are crying out for you to finish. You begin to wish there were health packs in life you could just touch and instantly feel better.
Remedy: Rest. You will just have to face the facts, you are tired and will have to rest. Whatever can be pushed off for another day will have to be. You need to gather your strength so you can face whatever challenges come towards you in the future. Skip game night, say no to the invitation to the movies, and just grab a good night’s sleep. Your body will thank you for it.
5. Con Drama
Despite the best efforts to avoid drama, if two people are alone with each long enough they will find a way to drive each other crazy. Unfortunately, at a convention there is a possibility of getting on a lot of individuals’ bad sides. Everything from cosplay rivalry, to poor rooming at the hotel, or generosity being taken too far can result in drama which will follow you home and find a way to integrate into your daily life. Con drama is one of the major reasons why people don’t come back from conventions with fond memories.
Remedy: Hopefully you are not an individual who thrives on drama and is doing your best to try and extinguish the tension before it gets any worse. To rectify this situation, you have no choice but to face it head on. Apologize to those you have wronged and let others know they have hurt you. Once a real line of dialogue has been opened things will resolve themselves in a much quicker fashion than if you had left the problems build without proper attention.
6. Con love
You have found the perfect person you have been looking for. They are everything you hoped. Unfortunately, they live on the other side of the state (or in some cases, country). You want nothing more than to see them again but they haven’t returned your call/friend request/text message in an amount of time which has made you start to panic. Have they found someone else? What did I do wrong?
Remedy: An entire separate article dedicated to this topic is possible (it may be as well depending on the feedback this one receives) so this topic won’t be covered as extensively as it could. The fact is that if you want your new relationship to work you are going to have to give it time, energy, and above all PATIENCE. Just like you, the individual is just getting home from a con and dealing with a bunch of stuff taking place all at once. Give them some time to gather themselves and then see where the relationship goes. Don’t get too clingy all at once or you may drive them off.
7. Buyers folly
The opposite of Buyer’s remorse. Instead of seizing the moment and grabbing an item which looked intriguing at the moment, you decided to pass it over and check the rest of the dealer room out before coming back. When you return it is too late and the item is gone. Bonus pain will occur if you return home and discover that the item in question is extremely rare.
Remedy: Preparation is once again your friend. Take the time to look into what you really want to add to your collection. Know what is a fair price for it and know that sometimes you have no choice but to grab an item on the first glance without being cautious and seeing if another vendor has it for a cheaper price.
8. Con connection overload
Who did you meet over the weekend? A photographer who took some great pictures of you? Someone you want to work on a project with in the future? People who live near you and love the same thing you do? Now you have all these contacts you begin worry you won’t be able to communicate with them properly.
Remedy: Take the time to call, message, and reply to every contact you successfully made over the weekend. Add their information to your contact list and make sure to let them know who you are, where you met, and what you were discussing. It was a long weekend, they may need a refresher but don’t take it as insult. Con weekends are over in the blink of an eye. Despite having fun we often forget all that happened. That’s why people take as many photos as possible.
9. The unpacking
Unpacking is properly one of the most difficult post con syndromes any fan has to deal with, and everyone goes through it. While packing for the convention, the thrill of everything you are going to see and experience is driving you to get everything together. Afterward though you are tired, drained, and can easily put it off for a solid week before you even think, “Yeah, I’ll get to it tomorrow.” Despite your rampant procrastination, the unpacking must take place.
Remedy: Just suck it up buttercup and do it. The sooner you get the car unpacked, your clothes and gear out of suitcases and into the laundry, the sooner you can get back to enjoying other geeky subjects. Put your headphones on and enjoy some music while you finally break down and put everything back in its proper place.
10. The return to normality
The convention itself is an atmosphere which is hard to duplicate and leaves a lasting impression on the attendee. Afterward, the world seems much less magical, and you find yourself surrounded by those who can’t begin to fathom the joy and enlightenment you experienced over the weekend.
Remedy:Time to call in a friend for backup. When normality has started to set in, its time to get a hold of your geeky friends and talk about everything you enjoyed at the con. If your friend didn’t go then take the time to tell them what they missed in a nice way (meaning don’t rub it in their face) and see if you can’t t help them plan for a convention of their own.
There you have it. Ten common post-con syndromes and remedies to cure them. Do you have your own remedy for a post-con syndrome? Post it in the comments and help others get over the scourge that follows a convention weekend.
Shomin Sample ‘Aika-sama has a lot of friends’ While having their fortunes told by Kimito’s phone, the girls discover that it can also predict their compatibility with members of the opposite sex. After Kimito asks Kujo to stop waking him in her usual manner, she is reluctant.
Luckily this time around actual funny jokes decided to make a reappearance. Characters using fortune telling as a plot device may be nothing new (which is the main complaint that bears repeating with this show is the lack of new material) but seeing the girls overreact to their results is very entertaining. Unfortunately, the Sailor Moon reference may have some audience members wishing they were watching it instead of Shomin Sample.
This episode quickly becomes a Karen episode after she gets the highest scores on the fortune telling game. Unfortunately, she believes this means she needs to use her sword and slice apart the room to get Kimoto’s heart. Damaging his shirt in the process, Karen displays her gentler side by sewing it up for him while wearing the outfit she got in the previous episode. It’s a cute scene but since she’s not the main girl in this show, she won’t be the one Kimito picks in the end. Sorry Karen fans but this show is operating on old school Harem trope rules so that shouldn’t come as a surprise.
Kujo, the maid, is back with her scissors of the death. Despite the fact it has been revealed she wakes Kimito up every morning with a kiss, it appears as if she won’t be showing her softer side anytime in the future. With the anime over half complete, she may never have an opportunity to show how she feels.
In the end, the series remains average. There were more comedic movements than previous episodes which is why the score is higher but still the show is barely above passing. It feels like is doesn’t want to be anything more than average for some reason yet it seems to possess the potential to do more.
With Black Friday looming on the Fall horizon, we here at Monkeys Fighting Robot thought it would be a good idea to make a list of graphic novels that would be perfect for new readers.
The term graphic novel may include story collections as well one-shots. An excellent example is The Walking Dead Vol. 1 from Image Comics. This graphic novel collects the first six issues of the comic written by Robert Kirkman.
(2008) – w. Greg Pak, a. Carlo Pagulayan, a. Aaron Lopresti, a. Juan Santacruz, a. Gary Frank, a. Takeshi Miyazawa, p. Marvel Comics
Savage alien planet! Oppressed barbarian tribes! Corrupt emperor! Deadly woman warrior! Gladiators and slaves! Battle axes and hand blasters! Monsters and heroes… and the Incredible Hulk! Let the smashing commence! This deluxe hardcover collects the entire “Planet Hulk” saga, plus extras! Collects Incredible Hulk #92-105, Giant-Size Hulk #1, “Mastermind Excello” story from Amazing Fantasy #15, maps, character designs.
Why you should read it: This is the greatest Hulk story ever told, in the form of a Greek tragedy. One day Marvel Studios will have the courage to make this a feature film.
(2007) – w. Mark Millar, a. Steve McNiven, p. Marvel Comics
The landscape of the Marvel Universe is changing, and it’s time to choose: Whose side are on? A conflict has been brewing from more than a year, threatening to pit friend against friend, brother against brother – and all it will take is a single misstep to cost thousands their lives and ignite the fuse! As the war claims its first victims, no one is safe as teams, friendships and families begin to fall apart. The crossover that rewrites the rules, Civil War stars Spider-Man, the New Avengers, the Fantastic Four, the X-Men and the entirety of the Marvel pantheon! Collects Civil War #1-7, plus extras.
Why you should read it: Similar to Brad Meltzer’s Identity Crisis, Mark Millar’s Civil War changed what it means to be a Superhero in the Marvel Universe.
(2004) – w. Brad Meltzer, a. Rags Morales, a. Michael Bair, p. DC Comics
When the spouse of a JLA member is brutally murdered, the entire superhero community searches for the killer, fearing their own loved ones may be the next targets. Before the mystery is solved, a number of long-buried secrets will threaten to divide the heroes before they can bring the mysterious killer to justice. IDENTITY CRISIS is an all-too-human look into the lives of superheroes, and the terrible price they pay for doing good.
Why you should read it: This is a defining moment in the DC Comics Universe that ushers in the modern heroes that we have today.
(2009) – w. Robert Kirkman, a. Tony Moore, a. Cliff Rathburn, a. Charlie Adlard, p. Image Comics
Introducing the first eight volumes of the fan-favorite, New York Times Best Seller series collected into one massive paperback collection! Collects The Walking Dead #1-48. This is the perfect collection for any fan of the Emmy Award-winning television series on AMC: over one thousand pages chronicling the beginning of Robert Kirkman’s Eisner Award-winning continuing story of survival horror- from Rick Grimes’ waking up alone in a hospital, to him and his family seeking solace on Hershel’s farm, and the controversial introduction of Woodbury despot: The Governor. In a world ruled by the dead, we are finally forced to finally start living.
Why you should read it: This is the gateway drug into independent comics. Robert Kirkman with each issue raises the bar of graphic storytelling.
(1988) – w. Alan Moore, a. Brian Bolland, p. DC Comics
According to the grinning engine of madness and mayhem known as The Joker, one bad day, that’s all that separates the sane from the psychotic. Freed once again from the confines of Arkham Asylum, he’s out to prove his deranged point. And he’s going to use Gotham City’s top cop, Commissioner Jim Gordon, and his brilliant and beautiful daughter Barbara to do it.
Now Batman must race to stop his archnemesis before his reign of terror claims two of the Dark Knight’s closest friends. Can he finally put an end to the cycle of bloodlust and lunacy that links these two iconic foes before it leads to its fatal conclusion? And as the horrifying origin of the Clown Prince of Crime is finally revealed, will the thin line that separates Batman’s nobility and The Joker’s insanity snap once and for all?
Why you should read it: This book will emotionally scar you, but ground you in the modern mythos of Batman and the Joker.
(2008) – w. Brian K. Vaughan, a. Niko Henrichon, p. Vertigo Comics
In the spring of 2003, a pride of lions escapes from the Baghdad Zoo during an American bombing raid. Lost and confused, hungry but finally free, the four lions roamed the decimated streets of Baghdad in a desperate struggle for their lives. In documenting the plight of the lions, PRIDE OF BAGHDAD raises questions about the true meaning of liberation – can it be given, or is it earned only through self-determination and sacrifice? And in the end, is it truly better to die free than to live in captivity?
Why you should read it: Brian K. Vaughan has the similar skills to Kirkman when it comes to the emotional height they will go in storytelling. This is an example of using the best medium available for the story.
(2014) – w. Jason Aaron, a. Jason LaTour, p. Image Comics
Earl Tubb is an angry old man with a very big stick. Euless Boss is a high school football coach with no more room in his office for trophies and no more room underneath the bleachers for burying bodies. And they’re just two of the folks you’ll meet in Castor County, Alabama, home of Boss BBQ, the state champion Runnin’ Rebs and more bastards than you’ve ever seen! “What does old Earl Tubb do when he returns home to Craw County, Ala., only to find the place a veritable criminal fiefdom run by Euless Boss, the local high school football coach? Why, pick up the stick helpfully cleaved by lightning from a tree growing out of his daddy’s grave and start meting out justice just like his father, the old sheriff, did.
Why you should read it: Jason Aaron is the CCR for the current generation. Aaron’s grit and grime will cover your soul and send you on a quest for his other works.
(2008) – w. Ed Brubaker, w. Matt Fraction, a. David Aja, a. Travel Foreman, a. Howard Chaykin, a. Nick Dragotta, a. Mitch Breitweiser, a. Jelena Kevic-Djurdjevic, a. Tonci Zonjic, a. Kano, p. Marvel Comics
Experience a brand-new kind of Iron Fist story, one steeped in legends and fables stretching back through the centuries! Orphaned as a child and raised in the lost city of K’un-Lun, Danny Rand returned to America as the mystical martial artist Iron Fist – but all his kung-fu skills can’t help him find his place in the modern world. After learning that the legacy of the Iron Fist holds more secrets than he ever dreamed, Danny is invited to fight in a tournament against the Immortal Weapons. At stake is the life of his friend, the legacy of his father and mentor…and the future of K’un-Lun!
Why you should read it: There is a Netflix series coming based on this character, and this book is the source material. Once hooked on Ed Brubaker and Matt Fraction’s work, there is an endless supply of books to coming read both superhero and not.
Taking place during Batman’s early days of crime fighting, this new edition of the classic mystery tells the story of a mysterious killer who murders his prey only on holidays. Working with District Attorney Harvey Dent and Lieutenant James Gordon, Batman races against the calendar as he tries to discover who Holiday is before he claims his next victim each month. A mystery that has the reader continually guessing the identity of the killer, this story also ties into the events that transform Harvey Dent into Batman’s deadly enemy, Two-Face.
Why you should read it: This is the Batman detective tale that you will never see on the big screen, but we should. A superb mystery for the world’s greatest detective.
As an act of violence spirals out of control to encompass the entirety of the news media, a cult has emerged from the errors and retractions that have ruined careers, marriages, and even lives. Under direction from his cult master, The Hand leads an army of followers committed to revolution, willing to die for their cause.
Why you should read it: If Jason Aaron is the grit and grime, Jonathan Hickman is scientific and calculated. Nightly News is Hickman’s first work, and the author has been cranking out hits ever since.
Tell us what 10 graphic novels you would recommend in comments below.
In anticipation of the November 25th release of CREED, we’ll be taking a look back at the ROCKY franchise and discussing why these characters and this world are still relevant and necessary forty years later.
Minor spoilers below:
Just like Rocky Balboa, we’ve arrived at our final destination in Creed. Ryan Coogler‘s (Fruitvale Station) continuation of the Rocky universe is grounded very firmly in the series’ lore and is also the origin story of another American hero. Just as Rocky was the story of a good man with lacking circumstance fighting for his shot at greatness, Creed portrays the experience of youth growing up without a steady home life. The movie tackles head-on what it means to be a young, black male making a name for himself when he’s forever under the shadow of a man who was never there for him. Creed is the tale of a man with nothing fighting for something alongside a man who is dealing with life beginning to take everything away.
The biggest shift this movie deals with is that Rocky is no longer our main character. Michael B. Jordan‘s Adonis Johnson, son of Apollo Creed, picks up the gloves and his character is the one the movie hangs all of its trust upon. Above all the bombastic fights and training montages, the Rocky series lives and dies with the character of Rocky Balboa. Rocky is the ultimate cinematic representation of the American experience, so transplanting him with Adonis is a leap that the movie must make in order for the audience to be on board. Thankfully, Adonis is just as likable and, more importantly, has a heart as grounded and pure as our original hero.
Adonis is a troubled man, having always been angry and caught in the juvenile delinquent system as a kid, always fighting the other kids. What allows him to channel this aggression is his open heart when the wife of his father, Mary Anne Creed (Phylicia Rashad), takes him under his wing. She had no reason to seek out and save Adonis as he is the physical embodiment of her husband’s infidelity. Nonetheless, she raised him like her own and Adonis now uses his fighting talent in the ring, underplaying the fact that he’s the father of the former champ. When his father’s own gym refuses to train him, Adonis quits his job and travels to Philly to find the only other living piece of his family, Rocky Balboa.
We are reintroduced to Rocky, still managing Adrian’s restaurant and still visiting the grave of his best friends, Adrian and the now deceased Paulie. This is a man who has accepted his lot in life. Everything is starting to be taken from him and he seems to be just going through the motions, waiting until it’s his turn to join his friends. It’s a dark mental place Rocky is in but the script by Coogler and Aaron Covington knows exactly how to portray Rocky so his inherent positivity still peeks around the corners.
The wisest choice the movie makes is to never make Adonis a villain. There is a world in which his character is angry and selfish, unaccepting of Rocky’s importance to his life. Thankfully, Adonis is immediately welcome to this man who knew his father better than anyone, calling him “Unc” at the outset. The audience is now behind this man because he is good to Rocky. This goodness creeps back into Rocky’s worldview and he agrees to train Adonis, thus lighting a fire under the boxing world to see Rocky back in someone’s corner.
Other characters fill-out this world as Adonis falls for Bianca (Tessa Thompson), a woman just as sweet and lovely as Adrian. The main opponent this time out becomes the pound-for-pound best fighter in the world, “Pretty” Ricky Conlan (Tony Bellew) as he’s forced to fight the media sensation that is Adonis because he’s about to go to prison and likely to never fight again. Rocky trains Adonis to not just fight Conlan, but the man in the mirror as that’s the real opponent standing in front of him.
Creed also goes to the place we’re all scared it will go, hinting at a future where Rocky Balboa eventually loses to the fists of Time. Rocky is diagnosed with Non-Hodgkins Lymphoma and is initially resistant to taking chemotherapy. In the most heart-wrenching speech of the film, Rocky tells Adonis that he had to watch Adrian go through hell and fail he can’t imagine doing that again. Adonis, unwilling to give up on the newest member of his family, tells Rocky that he’ll fight if Rocky fights the disease. In probably the most unnerving and interesting montage of the series, we see Adonis preparing for his fight against Conlan just as we witness Rocky at the weakest point of his life, taking chemo treatments, losing his hair, puking out his guts, but remaining in Adonis’ corner.
The crux of this movie lies within the journey of being willing to let others in when you’re at your darkest. We’ve been taught that it isn’t how hard we get hit that matters; it’s how hard we can get hit and keep moving forward. Here, we learn exactly how to move forward. It’s one step at a time, one round at a time.
Creed provides some of the most rousing moments of the entire series, the emotional catharsis being jettisoned in perfect symphonies of physicality. The boxing matches are filmed with such intensity that you forget a camera is there to capture it. Coogler places his lens right in the middle of the fight, rarely cutting away from the action and instead weaving in and out of fighters’ dance. Adonis’ first fight with Rocky in his corner is one of the most technically impressive sequences I’ve seen. The finale mixes this technical precision with the emotional beats playing out perfectly, every punch coming from the souls of the characters.
All that I asked for from this movie was for it to do right by Rocky. We get much more than that as Adonis proves to be the perfect character to take the reins after Rocky Balboa inevitably leaves us behind. Sylvester Stallone’s performance here hits each and every note so perfectly that it’s hard not to well-up with tears each time he opens his slack-jawed mouth. I’m sad that there is a reality in which we’ve seen the last of Rocky. I’m also excited that we now have another character able to step in and show the world what it’s like to fight for what you want and make a name for yourself. Creed is one of the greatest experiences I’m likely to have this year and if it is indeed the last couple of hours I get to spend with Rocky, I’m happy for the time we had and everything that he taught me.
As hyperbolic as this may sound, Brooklyn might just be the most perfect period romance drama to hit theaters in years. Beautifully shot with an impeccable cast and a script that is devoid of a single false note or plot misstep, it’s a deceptively simple story about not only finding love, but also finding one’s self in the most unlikely and unexpected of circumstances, and then holding on to that love and sense of identity in the face of temptation, heartbreak, and personal loss. It may take place in 1950’s Ireland and Brooklyn, New York, but the story here is truly timeless, and one that’s sure to captivate audiences who love great film, given the opportunity.
Saoirse Ronan (The Grand Budapest Hotel, Atonement) plays Eilis (pronounced Ay-lish) Lacey, the youngest of two sisters living with their widowed mother in the small town of Enniscorthy, Ireland. While her older sister, Rose (Fiona Glascott) has a good job in town as a bookkeeper, Eilis is stuck working for “Nettles” Kelly, one of the town’s main grocers, who seems to delight in pointing out what she sees as the obvious and glaring personal failings of everyone in sight, customer and employee alike. Seeing that Eilis has few prospects for a richer life if she stays in Enniscorthy, Rose makes arrangements with a kindly Catholic pastor in Brooklyn, New York, Father Flood (Jim Broadbent), himself an émigré of Ireland, for Eilis to migrate to America with a job and a place to live waiting for her. Though reluctant at first to leave her family and the only place she’s ever lived, the only life she’s ever known, Eilis boards the boat to America buoyed by Rose and their mother Mary’s hopes and best wishes, and tries to look forward to the journey ahead.
Though it proves to be the first serious obstacle to overcome as she sails to her new life, seasickness on the first night of the crossing turns out to be just the beginning of her troubles. For Eilis, the homesickness seems interminable and inescapable, especially with how different life in Brooklyn turns out to be. It’s when she’s at her lowest that she meets Tony (Emory Cohen, The Place Beyond the Pines), a sweet Italian boy who just happens to like Irish girls so much that he hangs out at the Irish Dances where all the unmarried Irish girls find themselves hoping to meet a fella on Friday nights. Smitten immediately by Eilis’ quiet charm and wit, Tony courts her in a way that’s tenacious, but still respectful and sweet. He even manages to avoid mentioning his other great love, baseball, during their initial time together; for that alone, according to the other Brooklyn girls Eilis talks to about Tony, the young man is truly unique among Italian men in New York, as apparently all Italian men love two things above all else: their mothers and baseball.
Tony’s arrival in Eilis’ life marks the true opening up of her world, and for a time, it seems as though she’s finally found her place in her “New World”, a place full of love, happiness, and potential for the future. But tragedy back in Enniscorthy draws her back across the ocean to her old home, and once there, amidst the grief and loss, she also finds new prospects for a wonderful life right there in that little town. To her surprise and confusion, very real possibilities of love, family, and prosperity present themselves in ways Eilis finds difficult to ignore, in spite of her devotion and deep emotional connection to Tony. Which world will she choose? Which place, the old world or the new, each with its potential for love and joy, can she truly call “home” once and for all?
Director John Crowley (2013’s Closed Circuit) seemingly approaches the task of bringing Colm Tóibín’s acclaimed 2009 novel of the same name to visual life by keeping things as authentic and familiar as possible. He and cinematographer Yves Bélanger (Wild) present Brooklyn in a way that audiences should expect a romantic period film to look — with a light sepia filter to everything to make it all look like a treasured old photograph, full of nostalgia and warmth. That familiarity is, after all, very appropriate to the material and themes interwoven here, as they themselves are timeless in Western literature and film: the experience of the immigrant to a new country, the contrasts of old world and new, small town and big city, and the fairy tale of two legitimate loves to choose from, each with its values and genuine virtues. This is all classic cinematic drama, and Crowley thus imbues every frame of Brooklyn, whether that frame includes the quiet and quaint cobblestone streets of Enniscorthy or the brownstone stoops and bustling streets of Brooklyn, with a classic feel to it, and it works very, very well.
What also works well here is the script, which comes from none other than About a Boy and High Fidelity author Nick Hornby. Hornby in recent years has seemingly focused his creative energies into adapting well-received novels into screenplays, and the results — prior to Brooklyn, last year’s Wild and 2009’s An Education — have each been heaped upon with critical acclaim and award nominations, including an Oscar nod for Best Adapted Screenplay for An Education. Brooklyn should fare no differently; once again, Hornby displays his unparalleled talent for dialogue that’s economical yet authentic and impactful. There’s nary a word or phrase wasted in the lines Hornby gives to his characters — what they say and what they don’t say all convey volumes of meaning and emotion, which is critical to bringing to life on screen Tóibín’s novel, a novel characterized by a great deal of internal monologue and thoughts narrated but not expressed openly.
Speaking of characters, audiences will be hard pressed to not fall in love with Eilis as she’s portrayed in Brooklyn by Irish-American actress Saoirse Ronan. The role demands a complex array of emotions which are often in conflict, as well as the ability to convey both vulnerability and quiet strength of will and character, and Ronan proves herself more than up to the task in what could and should be an award-winning effort. She and Emory Cohen as Tony are a delightful couple to watch on screen, in particular because Cohen’s Tony initially comes off as someone who could easily be a player, whose charm and looks could get him any girl, yet he falls hard for Eilis, and finds himself wholly incapable of holding back his emotions once he fully understands them. Jim Broadbent and Julie Walters also both stand out in their supporting turns as guiding figures for Eilis during her most trying times, and watch for Domhnall Gleeson in the latter third of the film delivering solid work in arguably the film’s most challenging role, portraying a character who comes to represent temptation strong enough to make Eilis possibly waver in her commitment to Tony.
Considering all that, it’s tough not to put forth Brooklyn as one of the season’s best thus far, if not one of this year’s best. It’s already won hearts and minds at a number of film festivals around the world, and it’s sure to make a stir in the months to come as award nominations are announced and speculation on winners and losers begins. If you have the opportunity this holiday weekend, take a chance on this film and find out why — you’ll be glad you did.
Brooklyn
Starring Saoirse Ronan, Domhnall Gleeson, Emory Cohen with Jim Broadbent and Julie Walters. Directed by John Crowley.
Running Time: 111 minutes
Rated PG – 13 for a scene of sexuality and brief strong language.
Whether you call Victor Frankenstein a hybrid, an origin story, a prequel, a spin-off, this loosely stitched together monster mash-up is an epic disaster. With options like The Hunger Games: Mockingjay Part 2 , Brooklyn, and The Good Dinosaur, it’s hard to imagine anyone would actively seek out seeing Victor Frankenstein. However, if you’re hard up for a gothic monster movie, let me break down why you would be better off setting your money on fire.
Director Paul McGuigan has managed to bring a rich source material (Mary Shelley’s Frankenstein) and reduced it too choppy action sequences, over the top Gothic Imagery, and jokey one-liners – which is enough to raise a disgusted Mary Shelley from the dead. James McAvoy and Daniel Radcliffe both are gifted actors, but they don’t breathe life into this menagerie of failure. McAvoy’s (Victor Frankenstein) portrayal is all one-note swagger – with a bit of wounded heart). Radcliffe switches from recovering victim to providing commentary about Frankenstein making an “Unholy Creation” (a tepid lean towards Mary Shelley’s original story). Both portrayals lack any creditability that the film desperately needs to flourish, but I’m not sure either actor is to blame. Sometimes, an actor is only as good as the script provides.
One can’t help but wonder what would possess 20th Century Fox to hire Max Landis to write Victor Frankenstein. Landis’ writing style is more helter-skelter than anything consistent with the genre-specific writing needed for any retelling of the Frankenstein fable. In short, it makes no sense to turn Frankenstein into some comedic film. I’m not sure exactly what Landis was even thinking when he wrote this script (just like I was confused about American Ultra). Maybe they were going for something different with this version, but it didn’t work.
McGuigan and Landis jointly felt this version of the Frankenstein story needed to be told from Igor’s perspective. Why? Logic would dictate that, by changing the perspective of the story, it would add something. All that changing perspective does, in this case, is lead us to a circus outside of London, where the audience is supposed to buy that Igor is this medical genius hunchback clown who lives in a cage. Even if the audience can wrap their collective heads around that, we now have to deal with the idea that Victor Frankenstein just happens to be at the circus and rescues Igor while using an array of martial art moves. If you can get past those two huge contrivances, then we just have to accept that Igor is willing to go along Victor’s idea (remember, he doesn’t even know him) to illuminate the dead. If you can handle all these insurmountable stretches in logic, then Victor Frankenstein might actually be perfect for you.
Victor Frankenstein is what we all thought it would be: a one note waste of your time. Nothing about this movie clicks; it’s a collection of different films that have been forced together for the purposes of creating something special, which is oddly similar to the classic Frankenstein story this film is meant to dramatize. Much like the Frankenstein story, however, this movie is an experiment gone awry.
20th Century Fox released the trailer for The Other Side of the Door, directed by Johannes Roberts and starring Sarah Wayne Callies from The Walking Dead.
Grieving over the loss of her son, a mother struggles with her feelings for her daughter and her husband. She seeks out a ritual that allows her to say goodbye to her dead child, opening the veil between the world of the dead and the living. Her daughter becomes the focus of terror. She must now protect against the evil that was once her beloved son.
Roberts worked on the script with Ernest Riera. The Other Side of the Door is scheduled for release on March 11, 2016.
