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The Films of Michael Bay: Worst to Best

Michael Bay is one of the most divisive directors working in Hollywood. Critics hate many of his films but audiences generally like them. Two of his films have made over a billion dollars and for good and ill most of his films are memorable.

Bay’s films are marked by his kinetic camera movements, bright cinematography, and quick cut editing. His visual style makes Bay’s work some of the recognizable in mainstream cinema and whether you like it or not he has had a huge impact on modern action cinema.

Bay has so far directed 13 films so let’s look at them from worst to best.

13. Pain & Gain (2013)

Pain & Gain was Michael Bay’s passion project, a film he finally got to make after agreeing to direct a fourth Transformers film. It was a film that was meant to be a window into Bay’s soul and what we saw was a toxic whirlpool of hatred. Pain & Gain was a dark comedy about the Sun Gym Gang in Miami, a group of bodybuilders who kidnapped, tortured, and murdered their way to wealth. Pain & Gain is a standard criminal rise and fall narrative but what separates it is the cruel, sadistic edge.

Pain and Gain was a violent, mean-spirited film starring characters with no redeeming features and relished on the violence. This type of film could have worked if made by The Coen Brothers or Quentin Tarantino who can make reprehensible characters endearing but Bay does not have that skill set. Family members of the Sun Gym Gang victims were particularly hostile to the film because it portrayed the victims as people who got what they deserved.

Pain &Gain was not without virtue. It was made on a budget ranging between $25 million to $35 million and Bay made it look like it cost more. Plus it featured the talents of Mark Wahlberg and The Rock. But this surface level flash can’t hide the film’s bitter nature. All pain, no gain.

12. Pearl Harbor (2001)

Another film in Bay’s filmography based on historical events was Pearl Harbor. This 2001 movie is considered one of the worst war films ever made, having a 25% rating on Rotten Tomatoes. It is hated by people who have any sort of interest in history. Reviews at the time declared Pearl Harbor as “trying a squeeze a two-hour film into three” and “the Japanese bombing interfering with an American love triangle.”

Pearl Harbor follows two friends who become pilots in the US Air Force just before the United States enter the Second World War. They also fall for the same woman just as they all get stationed in Hawaii at that fateful date in 1941.

Pearl Harbor was an attempt by Michael Bay and his long-time producer Jerry Bruckheimer to make a prestige picture after having success with action blockbusters. They won an Oscar for sound mixing.

Pearl Harbor was written by Randall Wallace who shows the same respect to history as he did with Braveheart. Moments that ticked off historians are those showing the Japanese bombing the hospital despite the Japanese pilots being under orders not to attack civilians, two fictional characters replaced the real pilots who fought the Japanese during the bombing. It also showed a US Air Force pilot being sent to fight with the RAF during the Battle of Britain and showing the main characters being a part of the Doolittle Raid despite them being fighter pilots, not bomber pilots. As an Englishman, a particularly irksome moment was when Ben Affleck’s commanding officer in the RAF said he wished he had more pilots like him, ignoring that lots of pilots were fighting and dying.

Pearl Harbor does have one saving grace – the bombing sequence. It was a well-crafted piece of action cinema as it showed the destruction and chaos of that fateful day.

11. Transformers: Revenge of the Fallen (2009)

After the success of the first Transformers film a sequel was quickly greenlit. All the problems of the first film were amplified. The film was written during the 2008 Writers’ Strike which meant Bay had to finish the script himself. It meant that all the issues with the film can all be laid at Bay’s feet.

Bay had no restraint when making Transformers: Revenge of the Fallen and it showed. He gave into his worst instinct which meant that a film that was aimed at kids had scenes like two dogs humping, an upskirt shot involving Isabel Lucas, a farting Transformers, Sam’s mum eating a pot brownie, John Turturro teabagging the audience and college girls fawning over Rainn Wilson. The film introduced two of the worst characters in blockbuster history: Skids and Mudflap. They were bickering twin robots that were racist stereotypes and the audience had to spend most of the film with them instead of Transformers that they actually liked. I wanted to cheer when I though Mudflap was killed and cry in despair when he lived.

The film ran for 150 minutes despite telling a simple story – a big bad robot wants to harvest the sun. It was filled with plot inconsistencies, the worst being the US government was able to cover up the battle between the Autobots and Decepticons despite there being civilian deaths, millions of dollars of properties damage and thousands of eyewitnesses. The film was so bad that Bay and star Shia LaBeouf apologized for it.

Transformers: Revenge of the Fallen does have one awesome moment: the forest fight. Optimus Prime had to fight off three Decepticons whilst protecting Sam and gets to utter the line ‘you will never stop at one, I’ll take you all on.’

10. Transformers: The Last Knight (2017)

Transformers: The Last Knight was the most recent Transformers film directed by Bay. It is considered to be the film in the franchise to underperform, making $605 million at the box-office. Out of all the films in the Bay filmography this is the film that seemed like he made out of obligation – the action was pedestrian by Bay standards. The Last Knight repeats the structure and storyline of Revenge of the Fallen. Both films were treasure hunt stories where the characters have to find ancient artefacts to stop the destruction of Earth. The Last Knight also makes the same mistakes that Revenge of the Fallen made. Both films got sidetracked by pointless subplots that went nowhere and introduced characters who had no bearing on the plot. Like Revenge of the Fallen The Last Knight featured few Transformers and fan favorite Optimus Prime sidelined for most of the films.

9. Bad Boys II (2003)

Bad Boys II was the latest film Bay made with producer Jerry Bruckheimer, turning his fairly low budget debut into a $130 million spectacle. This was a film where Bay was unrestrained – he made a buddy cop film that was over two hours, twenty minutes long, had huge action sequences like a car chase where cars were thrown from the back of a truck, hummers smashing through a shanty town and a finale on a minefield. It was excessive and some see it as Bay’s nihilistic masterpiece.

The action was excellent, at times it played like it was Michael Mann’s Heat on cocaine. The sequel had a better villain in the form of Hector Tapia because he actually had a personality. As always Will Smith was a welcome presence. Where the film fails was its humor: it was filled with unfunny segments like people in an electronic store thing the main characters were gay, Martin Lawrence acting like he took ecstasy, and Martin Lawrence and Joe Pantoliano having to do breathing exercises. Like Pain & Gain there was a nasty streak in Bad Boys II. Martin Lawrence had to suffer constant humiliation, Will Smith ogling a dead lady’s breasts and a body getting decapitated during the middle of a car chase.

A great side-effect of Bad Boys II was it was referenced a lot in Hot Fuzz.

8. Bad Boys (1995)

Bad Boys was Michael Bay’s first feature film. It was made on a $19 million budget and was considered a risk because it starred two TV stars. It was the film that started Will Smith’s career as a movie star.

Bad Boys was a standard buddy cop movie, not much different to Lethal Weapon and 48 Hours and had a solid enough premise – a corrupt ex-cop being able to steal millions of dollars worth of drugs from the Miami Police Department. What made it work was the chemistry between Will Smith and Martin Lawrence and Bay making the film looked a lot more expensive than it really was. Bay was so committed to the film that he invested $25,000 of his own money to film the final action scene.

7. 13 Hours: The Secret Soldiers of Benghazi (2016)

13 Hours: The Secret Soldiers of Benghazi was the most recent historical film in Bay’s filmography and the most respectful portrayal of history. This film was about the siege of American diplomatic outpost in Benghazi and it piggybacking on a recent trend of military films (i.e. Lone Survivor and American Sniper) that appealed to middle-America audiences.

The fear of 13 Hours: The Secret Soldiers of Benghazi would be Bay going completely right-wing and a vocal minority believed it would be a critique on Hilary Clinton. Instead Bay treated the story with respect and a fairly neutral viewpoint. It focused on the people on the ground as they tried to defend themselves. Because of this the film had none of Bay’s humor was present and there was only one stylized action shot. It was Bay’s Black Hawk Down.

On a side note, 13 Hours starred John Krasinski who directed the critically acclaimed horror film A Quiet Place. Bay’s production company made the film and Bay was one of the producers.

6. Transformers: Age of Extinction (2014)

Following Transformers: Dark of the Moon it seemed like Bay was done with the series. But Paramount was able to bring Bay back by letting him make Pain & GainTransformers: Age of Extinction was a soft reboot to the series, seeing a new cast of human characters and a redesign of the Transformers.

Transformers: Age of Extinction made $1.10 billion worldwide but it was one of the most critically reviled films in the franchise. Transformers: Age of Extinction does have its issues, it is too long, needlessly complicated and has Bay’s obsession with sex – in this film a character carries around a laminated copy of a fictional Texan Romeo and Juliet law. But there are also improvements – Bay and writer Ethan Kruger cull the cast of Autobots down to five and gave them distinctive looks and personalities. This film has some of the best villains in the franchise in the form of Lockdown and Kelsey Grammer’s Harold Attinger. There was plenty of action that appealed to my inner 10-year-old, including the fight between Optimus Prime and Grimlock.

5. Transformers: Dark of the Moon (2011)

Transformers: Dark of the Moon was the third film in the Transformers series and some people have argued it was the best in the series. After Transformers: Revenge of the Fallen was panned by fans and critics – Michael Bay and star Shia LaBeouf apologized for it and promised to learn from their mistake. Bay used this marketing technique for subsequent Transformers films.

Like Transformers: Age of Extinction the third Transformers film does some important things – it makes more Autobots recognizable and toned down Bay’s style of humor. The departure of Leo and the Twins was just a relief. Bay shot the film during the middle of the 3D boom of the early 2010s and Transformers: Dark of the Moon had some of the best 3D effects after Avatar. It also meant Bay had to restrict his rabid camera movements and quick editing because of the 3D cameras he had to use.

Transformers: Dark of the Moon had one of the best climaxes in the series, the Battle of Chicago and Leonard Nimoy played the main villain, being one of the best voice performers in the series. Bay cast Francis McDormand and John Malkovich to do some of the acting heavy lifting.

4. The Island (2005)

The Island was the first film Bay with DreamWorks Pictures, breaking his long-standing relationship with Jerry Bruckheimer. It is also the only blockbuster in Bay’s filmography which was a box-office flop, which is a shame because it was a solid sci-fi film.

Set in the year 2019 The Island focuses on Lincoln Six Echo (Ewan McGregor) and Jordan Two Delta (Scarlett Johansson), two people who live in a base where the inhabitants believed they survived the near extinction of the human race. A few people get selected to move to the fabled Island, a disease-free paradise. However, this was a lie to keep the people under control. The reality is they are clones of the rich and the elite and when they are selected their organs are harvested. Lincoln and Jordan escape the base and find the original people and discover that the world hasn’t gone to hell.

Bay toned down his worst instinct, there wasn’t much humor in the film and the camera shots were held for longer. The story was similar to films like THX-1138 and Run Logan, films that focused on characters living in underground societies and discover a deep dark society. The Island was met with controversy because it infringed on the copyright of the 1979 B-movie Parts: The Clonus Horror. The premise was also used in Kazuo Ishiguro’s award-winning novel Never Let Me Go which published in the same year.

3. Transformers (2007)

The 2007 version of Transformers was the first film in the live action franchise and the film with the highest Rotten Tomatoes and IMDB scores until the release of Bumblebee. This was second film Bay made with Steven Spielberg producing and his presence was felt. Spielberg recommended that the focus of Transformers should be a boy and his car and many of Bay’s of sexual and racial humor was tempered by some memorable action sequences and special effects that still hold up today.

Bay does handle the appearance of the Transformers with reverence, giving the film a sense of awe. This was clearly the case when Blackout attacked the US military and when the Autobots arrive on Earth. Steve Jablonsky’s score makes for great easy listening.

2. Armageddon (1998)

Armageddon is a film I have a lot of nostalgic feeling towards – it was the first Bay film I saw and was the first DVD I ever brought.  Armageddon was one of two films released in 1998 that looked at asteroids heading towards Earth. Armageddon was the more action-orientated film that was filled with city destruction, spacecraft getting destroyed and the space station Mir blew up. It pleased my tiny 13-year-old mind.

The film has some groundbreaking special effects, especially the destruction of New York and a lot of talented people working in front of and behind the camera. It was a film that gave Liv Tyler and Michael Clarke Duncan early roles, gave indie actors Ben Affleck, Billy Bob Thornton and Steve Buscemi blockbuster roles and was an early screenwriting credit for J.J. Abrams.

Armageddon saw more famous Bay tropes appear. This was a film that honored blue-collar American workers, making them the heroes, filled with American patriotism and unfortunately, his style of humor. When Ben Affleck pointed out that it would be easier to train astronauts to use the drilling equipment instead of training oil drillers to be astronauts Bay had a simple response: ‘shut up.’

Armageddon is a big block of American cheese and that’s why a lot of people love it.

1. The Rock (1996)

The Rock is often considered Bay’s best film and there is a good reason why – it is the only film that has a positive Rotten Tomatoes score and a big fan base. It’s both a quintessential ’90s action film and Jerry Bruckheimer production.

The premise of The Rock was simple, a group of rogue special forces soldiers still VX gas from the American government and threatens to fire the weapons on San Francisco if they are not paid $100 million. To infiltrate their base of operation on Alcatraz the US government turn to the only man to escape the prison, British MI6 agent John Mason (Sean Connery).

As expected from a Bay film The Rock had impressive action sequences and because of the use of Special Forces allowed Bay to showcase military combat. There was a fair amount of tension, especially during the scene when the Navy Seals faced off against the rogue Special Forces and the green smoke scene is so iconic that Call of Duty: Modern Warfare 2 copied the scene.

The Rock also showcased some of Bay’s favorite tropes – his adulation for the military, his disdain for bureaucrats and a love for conspiracy theories.

The Rock had an excellent cast. It gave Nicolas Cage his first blockbuster role, featured the talents of John Spencer (The West Wing), Michael Biehn and the aforementioned former Bond actor. Best of all was Ed Harris as Frank Hummel whose character was portrayed in a sympathetic light despite threatening to gas a major American city.

The Rock is the only Bay film to be a part of the Criterion Collection.

 

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Monkeys Fighting Robots Launches Digital Comic Strip Super Bowl Sunday

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Friday afternoon, Monkeys Fighting Robots announced its first digital comic strip, Tales of Monkeys Fighting Robots with art by Jamie Jones and the occasional words by Matt Sardo, will debut Super Bowl Sunday, February 3.

The best way to describe the series is if Robert Rodriguez directed Band of Brothers, with monkeys. The war between monkeys and robots has raged on for eons; these are the stories that have survived. Tales of Monkeys Fighting Robots will hit the web every Sunday.

“I once attended a panel where Gail Simone said, ‘a comic should never be boring,’ and that stuck with me. With Tales of Monkeys Fighting Robots, my goal is to put a giant smile on Gail’s face,” said Sardo. “Jamie and I are brainstorming the craziest of ideas. We get to be kids and detail out the biggest robots versus monkeys battle every week.”

Tales of monkeys fighting robots

The artist of the series, Jones, is big into Dungeons & Dragons, and you’ve seen his work on The Whisper, Paper Boy, Dodger, LUCHA UNDERGROUND, FIVE GHOSTS, and Joey Ryan: Big in Japan! Sardo, on the other hand, is training for his next job as an astronaut cowboy. A reformed hockey goon, Sardo has worked in and around the comic book industry since 2006.

Jamie Jones
Instagram – @artofjamiejones
Twitter – @ArtofJamieJones

Matthew Sardo
Instagram – @matthewsardo
Twitter – @matthewsardo

Each week’s comic strip will be posted on the homepage of Monkeys Fighting Robots, and to catch up on the series you can visit the Tales of Monkeys Fighting Robots archive.

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[Review] The Hunter Becomes the Hunted in DETECTIVE COMICS #996

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Leslie Thompkins. Alfred Pennyworth. And now, Henri Ducard. In Detective Comics #996, we discover all of them and more are being targeted for one specific reason: they all played a key role in creating The Bat.

Batman fails to extract any useful intelligence from the inmates at Arkham. However, it doesn’t take long before Bruce and Damian deduce that Henri Ducard is involved. Tracking him to Paris, Bruce confronts his former mentor. Things aren’t as Bruce expected, though, as the master hunter is now the hunted.

The Writing

Tomasi develops an interesting an engaging larger narrative in Detective Comics #996. The golem-like creature from issue #994 is back. We still have no answers to what it is, or who’s controlling it and why, but the mounting tension keeps the reader engaged in the mystery.

The book leans in heavily to the globetrotting exploits. For example, we have a great sequence of Bruce tracking Ducard through the criminal underworld, involving disguises pulled right from the pages of campy spy books, leading to a showdown in the Parisian catacombs. By the book’s end, we travel to the other side of the world to learn what becomes of another Bat-mentor. The final page sets up a new development that should be interesting to see unfold in our next issue.

Detective Comics #996 does have a few issues in story pacing and motivation, though. For example, Batman leaps into a fight with Ducard, only for the showdown to suddenly transition to a tense conversation. The adrenaline level kicks up again just two pages later. The effect is jaunty and somewhat uneven tonally. Even still, the book has a much more good than bad going on.

The Artwork

Doug Mahnke’s line work, with inks from Jaime Mendoza and Mark Irwin, is a strong point in the book’s favor. The character designs are detailed and expressive, with just a little bit of sketchiness to add some grit.

The team’s talents really shine in bringing to life the full-on body horror monstrosity attacking Bruce and Henri. Flesh boils and splashes around as members of the Batman rogues’ gallery gurgle up out of the mass to attack. It’s gruesome, yet gorgeously illustrated.

The colors by David Baron are on-point in Detective Comics #996 as well. The first two-thirds, taking place mostly underground, are dominated by earthy brown tones and heavy shadows. The style works well alongside the slightly-sketchy pencils and ink.

Final Verdict

Detective Comics #996 is another great installment in Tomasi’s run on the series. Get caught up now, because this probably isn’t a story you want to sleep on.

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Review: Barry Teams Up With the Sage Force Avatar in THE FLASH #62

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The Flash goes Undercover with the newest Force User!

The Flash has spent the past few weeks on a quest to find fellow Force users. The first he has found is the heroine, Fuerza, in Corto Maltese. The pair learns from each other, but things take a turn when they’re attacked by a corrupt police captain. Fuerza, who has been fighting his corruption for months now, wishes to kill him. The Flash, ever the hero, stops her. This causes her to turn her back on him, sending Barry off to his next location. Flash and Iris find themselves in Zandia, a nation run by criminals, to find the wielder of the Sage Force. Turns out the wielder, Psych, is a big fan of the Scarlet Speedster! Will this user become an ally to the Flash?

Flash 62 cover

**Some Spoilers Below**

Story:

After meeting each other, Psych explains to Flash what he’s doing. The kingpin known as Roulette has illegal casinos all over the world, amassing in a gambling empire. Psych, an agent of ARGUS, has been sent in to stop her. With his subsequent control of the Supervillains, Iris has a few doubts, but Psych explains his origin. This is enough to get Flash on his side, and the trio sneaks into Roulette’s gambling hall. As the plan begins to get underway, Psych believes they need a distraction. This distraction involves him exposing the fastest man alive to this small nation of criminals.

Flash 62 p1

I am on the fence about our new Force user. While his design and use of powers are cool, we already had an antihero Force user. He does take a turn for the more evil side in the middle, but some variety would be better. I’m not saying have him be either full out hero or villain, but maybe someone still fresh in the game.

I do like the setting the story takes place in. It puts Flash in an element we don’t usually see him in. Most stories, he’s in Central City, where he can run fast a free. This one, however, he has to play the stealth card to survive. I was at the edge of my seat as Flash and Psych snuck into Roulette’s hall. It felt like a spy movie, right down to fighting their way out. It’s an enjoyable issue with a cliffhanger that leaves me clamoring for the next.

Flash 62 p2-3

Art:

The illustrations of Christian Duce have grown on me throughout this story, and it hit it’s peak this issue. The characters and action haven’t looked better, with the throwdown at the Casino being the highlight. The only thing that makes this art better is the fantastic colorwork of  Luis Guerrero. He’s able to find a balance between vibrant and subdued to keep the world exciting yet realistic. It’s an excellent pairing for a good arc, what else can I say?

Flash 62 p4

Conclusion:

While I might not be a fan of our new Force User, this was still another fun chapter of The Flash. The action in the criminal nation kept me on the edge of my seat, and the cliffhanger has me counting the days until the next issue. The art is very well done and has finally found its stride for the Force Quest. If you’re a fan of the Flash or heist stories, you might want to take a look at this one.

 

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Review: Wonder Woman #62 Ends The Just War with a Whimper

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Wonder Woman’s Just War Concludes Here!

Wonder Woman is caught in a civil war while searching for Steve Trevor. It turns out he found safety in the presence of a reincarnation of Aphrodite. She has grown tired of love, seeing as the emotion has lead to violence all across history. Steve corrects her thinking and convinces her to help Wonder Woman, who is meeting with the Prime Minister of Durovnia. The rebels agree to speak to the Prime Minister to find common ground at a sacred site to both sides. He decides to go, under the protection of Diana, Steve, and Aphrodite. Before the heroes can get the leader to the location, one obstacle stands in their path: Ares. Will this war end in peace or bloodshed?

Wonder Woman 62 cover

**Some Spoilers Below**

Story:

The Prime Minister tells Wonder Woman to stand down so he can face Ares. He explains it’s his duty to confront this threat as an elected official. Ares exposits how mortals pick monsters as their leaders as they understand them. As he prepares to kill the supposed monster, Diana intervenes to fight. Ares quickly disarms Wonder Woman of her Lasso, but the Amazon reminds him that she is the master. Before the fight gets too bad, however, Aphrodite steps in to subdue the God of War. With the battle, over and done with, the Prime Minister speaks to the rebels about a ceasefire.

Wonder Woman 62 p1

I feel like this conclusion could have been good if the opening was better. Throughout the story, Ares seeks a Just War, yet we don’t know what that means. From what I gather, it’s supposed to include men who are willing to put faith in the enemy to help find peace in the end. Wonder Woman assures this about the ceasefire will help as Ares looks upon the war-torn nation. Again, this is just my guess. There are probably others who are much more qualified who could analyze this. As a common comic reader, however, it wasn’t very fulfilling. Hopefully, in the next arc, Wilson will be able to tell a much smoother narrative.

Art:

I love Xermanico’s illustrations. Each character looks fantastic; full of expression and emotion. The previous artist’s designs are given a new life thanks to the out of this world art. There is a panel at the end of the story that is just breathtaking. It’s the perfect way to end the story. I wish we could keep Xermanico, but the solicitations for the coming issues say otherwise. I’m going to miss this team, and I hope to see them real soon.

Wonder Woman 62 p2

Conclusion:

There are glimmers of a good story here, but doesn’t quite hit the mark. The action and art are good, but the flaws of the story weigh it down. If we had a stronger start, it might have been better. I don’t regret reading it, but we need a stronger opening in the next arc.

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Spoiler Review: UNCANNY X-MEN #10 Ends Its Weekly Run With A Huge Status Quo Change

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Uncanny X-Men ends it’s hyper, action-packed ten issues weekly run with an explosive final battle, emotional closure and a huge status change for the X-Men.

X-Man (A.K.A. Nate Grey) is dying. In his last days, he has used his omnipotent mutant powers to forcibly change the world into an ecological and sociological paradise. Needing followers, X-Man twisted Magneto, Blob, OmegaRed and eventually Storm into powerful avatars of his will: the Horsemen of Salvation. Legion (A.K.A. David Haller) foresaw X-Man’s machinations and tried to avert them with the help of the X-Men. However, Legion and the X-Men were quickly overpowered and X-Man took over Legion’s body. Terribly outmatched, X-Men leader Jean Grey sent out a telepathic distress call to all current and
former X-Men to fight for their future!X-Men

Uncanny X-Men #10
Written by: Ed Brisson, Matthew Rosenberg & Kelly Thomspon
Art by: Pere Perez
Colors by: Rachelle Rosenberg
Letters by: VC’s Joe Caramagna

SPOILERS AHEAD!

Writing

Uncanny X-Men #10 wastes no time at all in picking up from last issue’s all-out brawl of a chapter.  A massive back-up of mutants arrives to join the fight, and it’s again great to see so many beloved characters in one book.  One of the best things this new Uncanny has done is give multiple characters chances to shine, all while still delivering some epic superhero throwdowns.  It’s a testament to the writing team of Brisson, Rosenberg and Thompson that they were able to balance that for ten weeks straight.X-Men

The focal point of this chapter is the final confrontation between Nate Summers (X-Man) and his mother Jean Grey, it’s what the narrative has been building too, and the writing team handles it perfectly. The moment is both visually and emotionally impactful, especially for longtime fans of the X-Men.

Plenty of other beloved (and new) characters shine here too; Psylocke, X-23, Cannonball, and a mind-control free Strom all get some great moments that showcase the power teamwork that makes the X-Men so unique as a team. It’s another classic trope that Brisson, Rosenberg and Thompson know how to write.X-Men

Then there’s the ending…SPOILER ALERT...where the X-Men are once again removed and reality changes. Oh yeah and Cyclops is back.  But before anyone cries ‘been there done that’, take into account the level of care and detail that went into each and every weekly issue. The ending may be familiar, but it also feels emotionally earned and leaves the door open for the ‘Age of X-Man’ event (which we all knew was coming).

Art

The art in this series has really captured the energy and momentum needed for weekly chapters. Pere Perez creates some dynamic layouts, dramatic splash images and some truly fantastic choreography with the massive fights and high character count.X-Men

Despite the speed and amount of images, the narrative flows. Throw in Rachelle Rosenbergs pop art color palette, and you have a book filled with some beautiful comic book imagery.

Conclusion

Uncanny X-Men: Dissasembled has been a wild, fun ride for ten weeks. This concluding chapter leaves Marvel’s Mutants in a perfect place to build yet another classic mutant saga. And that’s the best we can hope from an X-title, epic, character-based sagas that feel both grand and intimate. This new version of the title feels closest to classic Claremont era than it has in years, and it’s great. This is a book you should be reading.

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Review: THE FANTASTIC FOUR #6 Shows Us the Best of Marvel’s First Family

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Dan Slott’s reforming of The Fantastic Four in THE FANTASTIC FOUR #6 is blazing ahead at full speed. In the previous issue, Ben Grimm, a.k.a. “The Thing,” finally married Alicia Masters but was rudely interrupted by Doctor Doom. Now he plans to take out Galactus in Latveria. The Fantastic Four rush to join the fight but meet a mysterious “herald” in this action-packed adventure story fans will deem true to form.

Story

Slott seems to have found his calling in the first Marvel family, and this issue is proof of it. He’s gotten each character’s voice down pat, from Grimm’s bumbling and kind nature to Susan Storm’s dry wit. But what really makes this story shine is Slott’s ability to weave their personalities together in a wonderful tapestry.

Case in point: Grimm’s reaction to Doom’s announcement ruining his wedding night. We aren’t presented with a typical groom bemoaning his wedding mishap. Instead, we experience Grimm’s thought-process as he tries to decide if he’s madder at Doom for interrupting his wedding or Galactus for causing trouble in the first place.

FF in the Fantasticar

While each character is entertaining in and of themselves, it’s great to see their interactions with one another. The conflicting personalities, as well as the family dynamics, are also complemented by the egomaniac Doom himself and his mysterious new herald.

Doom has always been one of the most compelling villains in Marvel comic history; he constantly strides the line between right and wrong while maintaining a huge ego. In this comic, his insistence that he is solely qualified to defeat Galactus showcases that ego. But it would have been great to see more of the discerning side of his character.

The story shows the Latverian residents’ and Doom’s herald’s admiration for their leader in a way that allows one to sympathize with their dependency. We’re able to see how people in desperate situations are often drawn to leaders who characterize themselves as powerful figures.

Thing lands in Latveria

Dr Doom vs Galactus

Art

Aron Kuder and Esad Ribić use their artistic talents to fuse the old and new in THE FANTASTIC FOUR #6. The cover art uses hazy lines on Doom’s face to present him in the style of comics from a decade ago. On the other hand, Kuder illustrates the story with wavy yet defined lines that allow for crisp images fitting of modern adventure comics like The Amazing Spider-Man.

Doom challenges Galactus

Marte Gracia and Erick Arciniega add bright colors to the scenes featuring the Fantastic Four, as well as purple-infused backgrounds that add to the sci-fi/adventure feel. In addition, Joe Caramagna uses dynamic font choices that give each character tone in their voices, which includes an effective use of bold letters and capitalization.

Conclusion

If you’re a fan of the Fantastic Four but wondering if this new series can live up to their former glory, fear not! Slott and the team have managed to capture the magic of Marvel’s First Family. The characterizations are almost enough to carry the story by themselves. We’ll have to wait and see if the series can keep the momentum going.

Are you a fan of Slott’s run on the Fantastic Fantastic so far? Let us know in the comments below!

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[Review] INVADERS #1 Opens a Complex Story of Friendship and Trauma

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With Invaders #1, Marvel harkens back to its legacy of World War II-era characters including Captain America, Namor, and others. Brought forward into the modern age, though, we see the dynamics in the characters’ relationships have shifted.

The book follows directly from the events of Avengers and Zdarsky’s recent Namor: The Best Defense. Namor prepares his kingdom for war, considering a preemptive strike against the surface as his best option. Memories of his experiences in World War II haunt him throughout the narrative, though. At the same time, Captain America and others weigh how to respond, providing exposition for the narrative.

The Writing

Yes, Invaders #1 pits Namor against the surface world yet again. This time feels different, though, lending pathos to Namor’s turn toward villainy.

Though it’s a team-up book, the narrative is decidedly Namor-centered. We watch as he consolidates the forces to realize his plans through half the book, with expository flashbacks occupying many of the other pages. Cap and Human Torch get relatively little time, while Bucky only enters at the book’s end.

Jim represents the voice of empathy in Invaders #1, telling Steve that Namor needs help, not a fight. For Namor, the war “never ended,” as Jim puts it. Through flashback sequences, we see how the deaths of close comrades weigh on Namor, though he tries to deny it. The survivor’s guilt, leading to the desire to achieve peace…by whatever means necessary.

Exploring the character from this perspective is an intriguing idea. This will likely become the focal point of Zdarsky’s narrative, given a few key lines Namor offers up about his plan towards the book’s end.

Invaders #1 ends on a clear turning point in the story. Zdarsky gets the band back together with the mission to redeem one of their own, which sets us up for an epic and consequential story in future issues.

The Artwork

The art provided by Butch Guice and Carlos Magno fits the style of book beautifully. The pair employs a heavily-inked, shadowy style for the flashback sequences. This provides a look reminiscent of the older comics to which Invaders #1 pays tribute, distinguishing them from the sharper, more modern look of the present-day panels.

The character designs in both time periods are highly-detailed. Dynamic figures fill every panel, making the art jump off the page. However, the layout in the flashbacks is tighter, compared to the expansive and splashy layouts of the present sequences. Both styles compliment the subjects well.

Alex Guimarães captures the right colors for the present and past segments of Invaders #1. The muted, earthy tones used in the flashbacks give it a sense of mournful nostalgia. In contrast, the present day segments benefit from a vibrant palette employing just about every color at the artist’s disposal.

Final Thoughts

Invaders #1 sets up an intriguing premise, dropping hints for mysteries to be addressed in later issues. This one’s worth adding to the pull list.

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Review: A New Fight For Survival Begins In ALIENS: RESISTANCE #1

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Acting as a sequel to the computer game Alien: Isolation and to the 12-part mini-series Aliens: Defiance, Aliens: Resistance see’s the return of several franchise characters and seasoned writer Brian Wood. Dark Horse Comics have a proven track record with the franchise, as can be seen with the recently completed Dust to Dust story line by Gabriel Hardman, so there is a lot of pressure to keep the flag flying high.

This new chapter in the saga has action, adventure and corporate corruption running through it, so it is off to an excellent start.

Dark Horse Comics
Cover Art Detail for Aliens: Resistance #1

The Story

One character has been blacklisted by the all controlling Weyland-Yutani corporation, while the other is on the run from them after sabotaging one of their missions to collect xenomorph specimens. This means that from the very beginning Wood has a dramatic story to tell. His job is to unite the characters and give them a mission. This element of the narrative is very straight forward and will not come as a surprise to anybody reading.

Zula, from Wood’s Aliens: Defiance series, searches out Amanda Ripley, daughter of Ellen Ripley from the original movie and central character in the Aliens: Isolation computer game, to enlist her help in stopping Weylan-Yutani from weaponizing the xenomorphs. Again, the concept is not new to the franchise and has been the motivational force behind several of the films and even more of the previous comics. What makes this version stand out is the characters and their own personal motivations.

Wood brings together two survivors who have already been through more than their fair share of the Alien nightmare. He re-introduces the characters to the readers by building the relationship between the two women and by giving them a joint purpose. Both of these characters have a lot of background that readers may not be familiar with but the way that Wood handles the script means that it doesn’t matter. Like any successful first issue, everything you need to know is in these pages.

A large number of Aliens based stories have a similar story structure or theme and Aliens: Resistance doesn’t stray too far from that expectation. It is a story about ‘what comes next,’ about how characters seriously affected by a traumatic experience take back control of their lives. And, on some level, it’s about revenge. Wood is able to juggle all of these aspects of the narrative while still producing some wonderfully tense action sequences.

Dark Horse Comics
Alternative Cover for Aliens: Resistance #1

The Art

Robert Carey has produced art work for Batman and Transformers comics and is no stranger to Sci-fi or horror. He is able to create uneasy feelings in the reader in both empty spaces and in close quarters. One aspect of the Alien franchise that resounds through all of the best stories is the sensation of claustrophobia in the vastness of space. This is something that Carey does well. The atmosphere produced from panel to panel and page to page is all consuming. He gives Wood’s narrative a real sense of depth closing in.

One of the highlights of Aliens: Resistance is the magnificent scenery that the characters pass through. From the vast, empty, planet landscapes to the sprawling cities; the locations set the tone for the comic. Each section of the narrative starts with an establishing shot that leaves the reader in no doubt about the type of world the characters inhabit. It is breathtaking and wondrous to behold, but you also get the impression that danger is just around the corner.

Dan Jackson uses a very dirty color palate for the majority of the comic. This is reminiscent of the original Alien movie. Everything is smoke and grime. The central characters are grafters who live in a worker’s world, this is reflected through Jackson’s coloring where he only uses the occasional splash of bright color to highlight the modernity of a particular vehicle or Corporate sign.

Conclusion

Everyone involved, from Wood and Carey to Nate Piekos on letters and even Roberto De La Torre’s cover, adds to the overall atmosphere of oppression that runs through the story. From a visual point of view, this is an excellent Aliens story and an immersive comic book. As a continuation of the franchise, there is plenty here for long-time fans, but it is not necessary to have read any Aliens comics from the last decade or so.

Aliens: Resistance is an excellent start to a new story and ticks off everything required for a first issue.

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AMAZING SPIDER-MAN #13: We’re In The Best Era For JJJ

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Nick Spencer and Ryan Ottley wrap-up our trip through memory lane with Amazing Spider-Man #13. Spidey takes a backseat to his new partner, J. Jonah Jameson, as he confronts his past mistakes.

Amazing Spider-Man 13 cvr

***SPOILERS LIE AHEAD***

 

The gigantic “Big Man” that attacks our beloved heroes ends up being operated by Frederick Foswell Jr. (son of the original Big Man). His path to revenge on Spider-Man was set forth by a misguided Jonah on the day his father was buried.

Not only does Jonah continue to clean out as many of his past mistakes as he can, but he also saves Spidey’s ass. Before the issue’s end, he also makes a fool out of Mayor Kingpin, refusing to endorse him or let Spider-Man be used as political propaganda for the criminal mastermind.

JJJ has long been a favorite of Spider-Man’s many supporting characters, but right now we’re getting the best we’ve ever seen of the character. Chip Zdarsky’s fantastic Peter Parker: The Spectacular Spider-Man series started the trend–Nick Spencer has taken the ball and run with it with Amazing Spider-Man.

Peter and Jonah’s relationship is hilariously satisfying, loaded with so much heart. It’s also a place we haven’t gone before in Spider-Man comics, nor would it have worked before. Where we are now in Spider-Man history is the perfect time for this development, and it’s being handled by the perfect batch of creators.

Amazing Spider-Man #13 has plenty of gut-wrenching moments as well with Jonah revisiting the missteps of his path. Without these moments of pain and reflection, the emotional impact of his new role would fall short. The most impressive feat is that Spencer and Ottley illustrate these progressions without betraying the character we’ve loved all these years–he’s changing, but he still sticks to his guns.

Jonah is bettering himself, which is making Peter reflect and better himself as well. ASM #13’s message is clear, the mistakes of your past don’t own who you are today. The duo is perfect for each other and for compelling comic book reading.

The main plot of this issue brings back a lot of early Spider-Man characters (Big Man, The Enforcers), it’s hard not to get the feeling of “classic” Spidey. The slow-burning subplot carries a classic feel of its own, drenched in total mystery.

Scorpion is the latest to get roped into whatever Taskmaster and Black Ant are up to. He finds himself locked up with a handful of other villains and one of the many curious subplots continues to thicken.

Teasing and managing future drama in these subplot breaks are a part of comic book storytelling that is making a comeback. Nick Spencer does it masterfully, every little snippet we get makes us want to read the next issue immediately.

Ottley delivers another gorgeous issue, loaded with emotional beats and satisfying action. His artistic vision for Amazing Spider-Man is the evolution of what has always made the character such a comic book staple. The more classic elements and characters you bring into the mix, the more his art continues to shine.

Spencer and Ottley are a dream team working on the perfect title. Each issue hammers home the point more and more; we are in a great era for Amazing Spider-Man comics. The two words that come to mind the most are memorable and iconic.

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