Every Act of Life is a new documentary film by Jeff Kaufman about Tony-winning playwright Terrence McNally. The movie follows McNally’s life through his groundbreaking career, quest to find true love, and the struggle he faced for LGBT rights.
Terrence McNally is an undoubtedly interesting man with an admirable career. As such, this film is able to be captivating. McNally’s body of work is impressive, and the movie does justice to it. Even someone who is not familiar with him going in will be able to appreciate him by the end of the film. The movie contains multiple clips and excerpts of McNally’s plays that are read aloud. These are quite entertaining, as the plays themselves are often humorous.
Another significant aspect of the film deals with McNally’s personal life. His story as a member of the LGBT community is important, as he was a groundbreaker in his time. At the time in which he rose to prominence, it was not acceptable to be a homosexual man. Providing further insight is the context in which the movie places his story.
AIDS significantly affected McNally’s life as he saw many people around him suffering and even dying from the disease. This film is still important today because it has the potential to bring awareness to this affliction that ailes so many people in our society. This movie adequately conveys the emotional impact that AIDS can have on a person and their loved ones.
The film also emphasizes the importance of artistic expression. McNally used theatre as his way of expressing his feelings about his experiences and what was happening in the world. Because of this, we are able to transport ourselves into the time period in which he lived and have at least some semblance of an understanding of what people were feeling at the time.
The interviews in the documentary are also incredibly insightful. McNally himself is featured quite frequently, but it is perhaps the interviews of the actors that worked with McNally that were most affecting. The interviews with Nathan Lane and F. Murray Abraham prove to be some of the most helpful in terms of information.
Additionally, the film is very well-made. The editing is quite strong. There is a large variety in the styles used by the filmmakers, keeping the movie attractive. The interviews are well-framed and well-shot. The readings of letters were also good, as these supplemented the film’s main content.
Overall, Every Act of Life is a very interesting documentary about a very interesting man. If you are a fan of theatre, this is one you surely won’t want to miss.
Starting in January, following the Death of Daredevil arc, the creative team of Jed MacKay and Danilo Beyruth will come together to champion the notion as to who will now protect Hell’s Kitchen.
That’s right, as was previously reported, Charles Soule is ending his long-running tenure on Daredevil, starting with Daredevil #609, which, in itself, will be a four-issue arc. The MacKay and Beyruth Man Without Fear series will serve as a five-issue miniseries that will highlight a mayhem-filled city that is missing its hero as people try to find a way forward. The series will bring together both heroes and villains of Hell’s Kitchen to face the chaos and disorder in a city without its ‘Guardian Devil’. All five issues will feature cover art by Kyle Hotz.
Man Without Fear #1 will hit shelves and land on digital on January 2, 2019. For more information regarding the upcoming weekly series, including shots of all five covers, click HERE. Don’t worry, there’s still hope for Daredevil in 2019, click HERE to find out more.
What do you think, is the thought of losing Matt Murdock’s Daredevil too much to bare? Let us know in the comments section below.
Al Ewing, Joe Bennet, Ruy Jose and Paul Mounts go full-on body horror in a phantasmagoric THE IMMORTAL HULK #8.
Bruce Banner is dead. His corpse has been dissected, his organs cataloged, and his inner workings are being studied by the scientists of Shadow Base. Bruce Banner is no longer a threat. That just leaves the IMMORTAL HULK…
The Immortal Hulk #8 Written by: Al Ewing Pencils by: Joe Bennett Inks by: Ruy Jose Colors by: Paul Mounts Letters by: VC’s Cory Petit Cover by: Alex Ross
This review contains spoilers
Writing
After last issue’s massive action-packed Avenger’s led beatdown, The Immortal Hulk #8 switches gears again and unabashedly oozes into straight up body horror. Ewing once again adds another layer to the Hulk, opening up his powers in even more horrific ways. The bulk of the story takes place within Shadow Base, as the villainous Dr. Clive pokes and prods at the leftover Hulk body parts. Clive, written like an old school mad scientist, rants and raves. But in true horror fashion, the scientist does not know what forces he his playing with and before he knows it...SPOLIERS…he finds out that the Hulk has been conscious this whole time he has been spread apart in parts. The body parts then begin to move and crawl on their own, attacking Clive and absorbing him like something out of John Carpenter’s The Thing or a David Cronenberg movie. This revelation completely changes the nature of the Hulk again and makes him even deadlier. Ewing is really having fun with this book, taking it in crazy directions every issue. He is creating one of the wildest conic book rides on stands and one of the best Hulk runs in years.
Art
A comic that strives for a horror vibe can get only get so far on the writing alone. The art, from the pencils to the letters, has to create and sell the mood and atmosphere. The art team of Bennett, Jose, Mounts and Petit completely deliver. Everything that comes out of their pens works seamlessly together to give the book a creepy, pulpish feel. The line work is thick and heavy, the inks full of weight and the colors are lurid. It’s a horror comic through and through. The lettering even echoes old school EC Comics font.
Conclusion
This is the best Hulk has been in years. Every month brings a new change, a new revelation and more, and more horror. So rise up and grab this book.
Mowgli stars Rohan Chand as the titular character who is a child literally raised wolves, a bear and a panther who must learn to survive the perilous jungle he now calls home.Mowgli gets a limited theatrical release before hitting Netflix on December 7th, 2018.
About Mowgli
Official Description: A human child is raised by a bear and a panther and learns the harsh rules of the jungle to rise up and become accepted by the animals. However, not all animals are friendly to the idea, and the child must come face-to-face with his own past.
This live-action version of “The Jungle Book” by Rudyard Kipling comes from Netflix and director Andy Serkis who also plays the lovable bear Baloo. The case is pretty insane too, featuring the voices of Christian Bale, Cate Blanchett, and Benedict Cumberbatch. From the looks of the trailer, the visuals look decent and, well, we all know the story pretty much so if you like the Jungle Book and any of its many iterations then there’s not much to be against.
Mowgli features a cast that includes …
Rohan Chand as Mowgli
Matthew Rhys as John Lockwood
Freida Pinto as Messua
Christian Bale as Bagheera, the Panther
Cate Blanchett as Kaa the Python
Naomie Harris as Nisha the Wolf
Andy Serkis as Baloo, the Bear
Benedict Cumberbatch as Shere Khan the Tiger
Peter Mullan as Akela the Wolf
Jack Reynor as Brother Wolf
Eddie Marsan as Vihaan the Wolf
Tom Hollander as Tabaqui the Hyena
I don’t think anyone asked for two live-action Jungle Book films, but here we are. The Disney film, released in 2016, was a huge hit. It may or may not have pushed this film back as they continued to improve the visuals to keep pace with Disney. However, Andy Serkis promises this is a “darker” and “more serious” adaptation.
Did this trailer get you excited for Mowgli? Leave your comments below!
Missing Link is a star-studded stop-motion animation film about an investigator played by Hugh Jackman of myths trying to find the missing link (Zach Galifianakis) and make a name for himself amongst the best-of-the-best myth hunters.Missing Links lands on cinema screens April 12, 2019.
About Missing Link
Official Description: The charismatic Sir Lionel Frost considers himself to be the world’s foremost investigator of myths and monsters. Sir Lionel’s last chance for acceptance by the adventuring elite rests on traveling to America’s Pacific Northwest to prove the existence of a legendary creature. A living remnant of Man’s primitive ancestry — the missing link.
The cast for Missing Link is spectacular. Just look at the list below of actors lending their voices to this charming animated film. Behind the camera, the talent continues in the form of director Chris Butler who previously directed the Oscar-nominated ParaNorman in 2012. Butler also wrote the 2016 animated hit film Kubo and the Two Strings. There is a powerhouse team behind this film, and the trailer reveals a beautiful piece of animated splendor.
Hugh Jackman as Sir Lionel Frost
Zoe Saldana as Adelina Fortnight
Zach Galifianakis as Mr. Link
Stephen Fry
Emma Thompson
Timothy Olyphant
Matt Lucas
David Walliams
Ching Valdez-Aran
Amrita Acharia
This movie had me at “writer of Kubo and the Two Strings.” Even before I knew that, though, the animation was a gorgeous selling point. It’s visually stunning, to say the least wtih a healthy mix of old-school and new-school techniques. The trailer for Missing Link checks off a lot of boxes that make it a film to keep an eye on. I even already like the idea of the franchise continuing on with Jackman’s myth hunter finding more legendary creatures.
Did this trailer get you excited for Missing Link? Leave your comments below!
Cast: Viola Davis, Elizabeth Debicki, Michelle Rodriguez, Cynthia Erivo, Daniel Kaluuya, Colin Farrell, Brian Tyree Henry and Robert Duvall.
Synopsis: A police shootout leaves four thieves dead during an explosive armed robbery attempt in Chicago. Their widows — Veronica, Linda, Alice and Belle — have nothing in common except a debt left behind by their spouses’ criminal activities. Hoping to forge a future on their own terms, Veronica joins forces with the other three women to pull off a heist that her husband was planning.
Steve McQueen (12 Years A Slave)is back with a new crime-thriller (based on a 1980’s ITV series?), and thanks to an excellent ensemble cast, a great script and some pitch-perfect direction, the Oscar-winning director has managed to deliver yet another emotional, gripping, terrifying and beautifully heartbreaking drama.
It will come as no surprise to learn that the highlight of Steve McQueen’s Widows is the incredible cast that the director has assembled. The entire ensemble gives 100%, with each A-list actor offering a noteworthy performance. Daniel Kaluuya (Get Out) and Elizabeth Debicki (The Night Manager), in particular, manage to steal the show on more than one occasion. If you’re looking for a standout, however, you needn’t look any further than Viola Davis (Fences). The Oscar-winning actress leads the cast with yet another excellent performance, which beautifully balances extreme vulnerability with ice-cold strength.
McQueen directs the film with unyielding confidence, telling a story that excites and entertains, while at the same time, showing us a reflection of modern society and embedding several themes into the narrative. Under another filmmakers command, Widows could have easily become a shallow and skin-deep crime-thriller, but McQueen has added surprising depth to the story, which allows us to connect on a deeper level. The director also shows great skill in his ability to balance multiple styles and tones, as the film endlessly flows back and forth between the terrifying and the utterly heartbreaking.
Action and suspense are essential components of the story, and McQueen executes each action sequence with the utmost care and attention. The film opens with an incredibly intense chase sequence, which is shot from the POV of a speeding van. This brilliantly constructed opening sets a precedent for every action sequence that comes after it, and McQueen follows this scene with some of the most brutal and uncomfortable to watch sequences of the entire year.
Regarding visuals and cinematography, McQueen and his cinematographer Sean Bobbitt have created a raw, slick and hauntingly beautiful film. Bobbitt’s cinematography is stunning, especially when given the opportunity to experiment with different shots. There are two long takes, in particular, that are executed flawlessly and working with Bobbit, McQueen has not only made an entertaining film, he’s also made a beautiful one.
The score, which has been composed by Hans Zimmer, who is often criticised for his loud and bombastic BWAAAMMMM’s, has decided to go with a low-key score for Widows, which more than works for the harsh and emotional story that McQueen is telling. However, when we enter an action scene, the score becomes more energetic, and Zimmer picks up the pace. It might not be in contention for the best score of the year, but it certainly suits the brutal and emotional story.
OVERALL
With Widows, Steve McQueen has delivered yet another smart, gripping, endlessly intense and brilliantly acted drama. Featuring an all-star cast at its very finest, top-notch directing, beautiful cinematography and a haunting score from Hans Zimmer, this action-packed and emotional thriller will undoubtedly please both the blockbuster crowd and fans of more artistic and subtle cinema.
Interested in hearing more of my thoughts? You can listen to my spoiler-free review of Widows in the latest episode of my podcast, Kieran’s Movie Space. Check it out in the YouTube video below:
In one of the most well-known passages of his work Paradise Lost, John Milton writes “The mind is its own place, and in it self can make a Heaven of Hell, a Hell of Heaven.” Typhoid Fever: X-Men seems to take this notion to heart, twisting and playing with the characters’ darkest memories.
The presentation here isn’t as surreal as in the first issue. While characters are not always lucid, the reader is more grounded in the narrative compared to Typhoid Fever: Spider-Man. The result is an above-average middle chapter of the story.
The Writing
Typhoid Fever: X-Men centers around the cast’s memories, or more accurately, trying to distinguish true memories from false ones. Typhoid Mary attempts to manipulate Bishop, Storm, Iceman, Nightcrawler, Jean Grey, and Spider-Man into characters in her own twisted soap opera. When some resist, though, Mary warps the team members’ memories to use their darkest personal moments against them.
The story gives us the chance to delve into the complicated and often tragic pasts of several characters. Most notably, Mary herself goes under the psychic microscope when Jean Grey delves into her mind to try and break Typhoid’s control over her.
The dialog is fine throughout, though it can fall a little flat, especially when characters try to exert their (lack of) wit. However, writer Clay McLeod Chapman’s narrative comes through in Typhoid Fever: X-Men. We see Mary rewrite her own memories and history. Through Jean’s eyes, we delve deeper and deeper into the core of who Mary is, and where Mary Walker ends and Typhoid Mary beings. The downside of this is Jean becomes an exposition character, but it’s not bad enough to drag things down.
One of the long-time problems with Mary Walker’s character is the flawed and, in many ways, problematic portrayal of Dissociative Identity Disorder (commonly referred to as split personalities). However, we see a genuine attempt here to wrestle with that legacy. The series is turning into a compelling character study, exploring the roots of Mary’s identity and mental illness.
We’ll need to wait until the next issue before we can say whether Chapman really lands what he’s going for, but it’s looking promising.
The Artwork
The team of Danilo S. Beyruth and Will Robson on art produce an interesting contrast in styles throughout Typhoid Fever: X-Men.
Robson provides his typically-cartoonish look for most of the book, which has its ups-and-downs. For example, Mary has a wide range of expression, helping sell the character as a more interesting an engaging figure. It doesn’t always work though, particularly in Jean Grey’s case; in fact, every time I look at her, I can’t help but get serious “Mega Man” vibes.
The backgrounds are rather dull throughout Robson’s pages as well. I found myself focused solely on the characters, but less because they commanded attention and more for a lack of other things to look at.
I found Beyruth’s pages generally more engaging to the eye. The environments possessed more of a kinetic sensibility, in contrast to the static backgrounds of Robson’s work.
That said, the colorwork provided by Rachelle Rosenberg and Dono Sanchez-Almara accented each style well. The bright colors make Robson’s cartoonish, rounded characters pop, while Beyruth’s more angular, realistic designs benefit from a muted, downplayed palette.
Final Verdict
Typhoid Fever: X-Men provides a more direct narrative than the first issue in the series. While it’s lost some of the surreal touches and the art has some wonky elements, it’s still an interesting read. I’d recommend picking it up.
For decades, Luke Skywalker was the Jedi hero who brought peace to a divided galaxy and helped maintained it. These were the stories fans grew up on, whether it be through George Lucas’ movies, or the hundreds of books and comics to follow over the years.
Time, however, changes everything. What existed as Canon became EU Legends, erasing everything post Return of the Jedi.
Suddenly, Mark Hamill is thrust back into the lead role as Luke Skywalker in The Last Jedi after his very brief re-introduction in The Force Awakens. The young boy who whined about almost everything (drinking game for every time Luke whines in the OT), is once again labeled as the “last hope” in the galaxy.
Except, Luke played a role in creating said evil this time around, rather than being an innocent byproduct of it.
Image via Lucasfilm and Disney Studios
Putting aside the Canto Bight arc and Poe’s act of rebellion, the most divisive issue in TLJ revolves around fandoms interpretation of Luke Skywalker. According to Rian Johnson, director of The Last Jedi, Luke Skywalker’s actions reflect his persona and character traits within the original trilogy.
Would the Luke Skywalker — we know and love — abandon his friends after he defies Yoda to save them in Empire Strikes Back? Would Luke become selfish and distant after risking everything in Return of the Jedi to save Han and his Sith Lord father? Why would any reputable Jedi toss a lightsaber away in a vital moment?
These are the questions many have asked. Most often, however, they’re asking from a perspective of “this isn’t the Luke Skywalker I know.” Because the Skywalker in Legends EU is not the one in Canon.
So, who’s the real Luke Skywalker?
Is it the young (slightly arrogant and naïve) boy who became a Jedi in the OT, or the Grand Master Jedi (married to Mara Jade) who fought to the bitter end in Legends?
The EU Legends Luke Skywalker
Image via Lucasfilm and unknown artist
The Luke Skywalker presented in the Star Wars EU is one who faced many hardships early on after the fall of the second Death Star but overcame them through the love his friends, his wife Mara Jade (former Hand to Emperor Palpatine), and his desire to always do what is right.
But that’s just the tip of the iceberg. In Legends, Luke turns to the dark side of the Force for a hot minute, his nephew becomes a Sith apprentice who kills his wife, and his own son almost becomes a Sith as well.
And yet, Skywalker never ran away or gave up fighting until the day he passed and became one with the Force. The Luke in EU Legends continually fought side-by-side with Han, Chewie, Lando, and Leia — further strengthening the bonds between them as they served the galaxy following the destruction of the Empire.
Even when their own children betrayed them, this original OT crew relied upon one another to get through every disaster life threw their way.
Canon Luke Skywalker
Image via Disney Studios and Lucasfilm
Unlike the Luke Skywalker presented in Star Wars EU Legends, the Luke in Canon exists strictly in the OT movies (and a handful of new Canon material). He never fell in love and married Mara Jade, and he didn’t continually fight battle after battle for the sake of the galaxy alongside his friends.
The Luke Skywalker in Canon plays a very minor role in the New Republic, seeking knowledge over violence. He forms a school when Ben shows immense strength in the Force and decides to teach future Jedi. Much like the Luke in Legends, his nephew turns on him and becomes a Sith apprentice.
But — and this is a huge but — Han, Leia, and Chewie all go their separate ways after Ben’s betrayal. They’re all wallowing in their own failures. Nobody steps up to the plate and declares the newly formed Kylo Ren must be stopped until it’s way too late (decades later). And by this time, Luke has already secluded himself, lost amongst the stars, wishing to be forgotten.
And to be honest, who could blame him?
In Luke’s depressed mind, he failed everyone, and they all abandoned him. Even Han deserted Leia and returned to his old scoundrel ways. This is the story presented in the new Star Wars Canon. It’s not that Luke doesn’t want to help Leia and the Resistance when Rey seeks him out — he doesn’t believe in himself, the Force, or love anymore. Three key things, by the way, which drove him to be the Jedi hero in the original trilogy.
Resolving The Skywalker Debate
Image via Lucasfilm and Disney Studios
Is it really Rian Johnson’s fault fans didn’t like TLJ or Luke’s character adaptation? Or, did fandom assume the Luke Skywalker of EU Legends would suddenly become the one in Canon, despite his story being completely different following Return of the Jedi?
This is the issue at hand, and it isn’t going away with Episode IX. Luke eventually snaps out of his funk in the TLJ and resolves his past the only way he knows how to. But he’s still the Luke Skywalker of the new Canon, not of EU Legends. When he appears as a Force ghost in Episode IX (as many assume, he will), it’ll be important for fandom to remember this.
J.J. Abrams played a major role in The Force Awakens (direction and script) setting up the Luke Skywalker we know in Canon. Rian Johnson simply followed through on what was already established. While Abrams can adjust Luke slightly, he can’t retcon what he helped create. At least, he shouldn’t, because it would only make things worse.
The Star Wars Canon is what it is. New stories are being created, on top of existing ones based on the OT. Some we’ll like and others we won’t. But regarding Luke Skywalker in The Last Jedi, The Force Awakens and Episode IX, he’s perfectly aligned with George Lucas’ version in the original trilogy.
And that my fandom friends, is simply a Canon fact.
Should Disney have adopted the new Canon more directly around EU Legends? Are you happy with the new Luke Skywalker or do you prefer the one presented in the old books and comics? Let us know your thoughts and “May the Force be with you, always.”
It took 50 years, but it looks like fans of the undead will finally get that much-anticipated and long-unproduced sequel to Night of the Living Dead in 2019.
What a way to ring in a 50th anniversary with news of another piece to the George A. Romero (R.I.P.) zombie puzzle via Living Dead Media! In a recent interview with, officials stated:
“Night of the Living Dead first brought zombies to the silver screen in 1968. The world was unprepared for the film’s flesh starved ghouls, which resulted in a groundbreaking and commercial success,” stated an official with Living Dead Media in an interview with Bloody Disgusting. “It remains one of the most influential and revered horror films of all time and now sits in the Library of Congress and the Museum of Modern Art for its cultural significance. Written by John A. Russo and directed by George A. Romero, Night of the Living Dead created the foundation for the five ‘Return of the Living Dead’ films that gave us Tarman and his famous catch phrase ‘More Brains!’, popularizing brain-eating zombies and defining the modern dark comedy-horror genre in the process. Romero’s Trilogy of the Dead series also owes its roots to the classic. In addition, Night of the Living Dead is not only credited with spawning a generation of zombie films, but all modern horror films.”
The quote goes on to state the obvious in Night of the Living Dead taking its rightful spot on the Mt. Rushmore of horror films, but does offer the exciting quite, ‘… Unknown to most is that in the 1970s, the original writers and producers of Night of the Living Dead penned a sequel to their masterpiece.’ This unproduced sequel will have the ‘dirt brushed away’ and serve as a follow-up to the classic, under some of the original production team, and will release as Night of the Living Dead Part II.
As previously quoted, following the initial release of 1968’s Night of the Living Dead, Romero also directed Dawn of the Dead (1978), Day of the Dead (1985), Land of the Dead (2005), Diary of the Dead (2007) and Survival of the Dead (2009), all of which were standalone films and not directly related to the original film, which puts a sequel in extremely rare company within the horror legend’s resume. He also has credits for writing in numerous attempts at reboots, that he did not produce or direct, including some recent films like Night of the Living Dead 3D Dead and Day of the Dead: Bloodline.
Not enough zombie for you? You should check out Romero’s recent work with Marvel in which he wrote a three-part series called, Empire of the Dead. However, we could be in for so much more, considering the recent news that Romero left behind over 50 scripts!
No news yet on casting and production for Night of the Living Dead Part II, but make sure to check back, but also stay tuned to nightofthelivingdead.com for updates regarding the upcoming film.
With that said, are you ready for the next installment of classical zombie cinema? Should the string-pullers keep it in the family and do a black-and-white film? Could this be the fix in a world that has lost touch in regard to the zombie genre? Let us know in the comments section below.
The Green Lantern #1 by Grant Morrison, Liam Sharp, Steve Oliff and Tom Orzechowski arrives on the scene as THE space cop comic book we have all been waiting for.
When Earth’s space cop, Hal Jordan, encounters an alien hiding in plain sight, it sets off a chain of events that rocks the Green Lantern Corps—and quite possibly the Multiverse at large—to its very core. There’s an inter-galactic conspiracy afoot, as well as a traitor in the GL Corps’ ranks, so strap in for more mind-bending adventures in this masterpiece in the making.
The Green Lantern #1 Written by: Grant Morrison Art by: Liam Sharp Colors by: Steve Oliff Letters: Tom Orzechowski
Writing
The pairing of a mind like Grant Morrison’s with a concept like Green Lantern offers near limitless possibilities. Here we have a mind and a character literally defined by their imaginations. And yes this is a comic filled with weird and wonderous ideas that come at you in typical Morrison fashion; mind-blowing and a mile a minute. Heavy concepts like a sentient, intelligent super virus that is part of the Lantern Corps. (named Flooze Flem!) and mentions of other spectrum-based Lanterns (X-Ray!, Gamma Ray!) go as quickly as they come. There is also a bit of humor running throughout as well.
However there was a surprise factor, and that was how Morrison grounded Green Lantern. There is a total cop show/police procedural vibe running throughout this comic. It is structured like one, complete with crime scenes, paddy wagons and investigations. The lanterns also speak in an almost cop lingo too and the language used reflects that; An alien criminal literally calls them coppers and the word precinct is used a lot as well.
If anything keeps it from being perfect in the writing, it’s that Hal Jordan in this book right now is more of archetype that a character. Perhaps expectations of an Animal Man/Buddy Baker syle character analysis have no place in what The Green Lantern is trying to do. Also, it’s important to note the book is called THE Green Lantern and not just Green Lantern (as it has been in the past).
Art
This book is fucking gorgeous. Liam Sharp has drawn some beautiful images that invoke a Heavy Metal Magazine, Euro-Comics vibe (think Moebius too!). There is an intricacy and detail to each and every page and panel that warrants multiple reads. The layouts are dynamic. The creature designs are fantastic. This is comic book art at it’s finest.
When you add Steve Oliff’s colors in everything comes alive. Oliff is the R.B.I. hitter here. The color palette in this book is mesmerizing. The colors are all over the place, but the shade and changing hues serve to highlight so many textures and details. It’s kaleidoscopic yet balanced. This one of the best-colored books I have seen all year.
Shout out to Tom Orzechowski for some solid lettering in both word balloons and narrative boxes. Everything pushes the story along and doesn’t bog down images with words.
Conclusion
Morrison fans are already going to grab this but if you are new to him this is actually a great introduction to the writer and to Green Lantern. It has enough of the Morrison weirdness to feed your geek jones, yet a surprising grounding in the structure that makes it accessible but unique too. It’s also all beautifully illustrated. This book is a definite buy.
