Tiger stars Prem Singh as Pardeep Nagra, a religious man determined to be a great boxer with the help of a trainer played by Mickey Rourke who looks like he’s stepped into another person’s body. However, parts of Pardeep’s Sikh faith are at odds with the fighting community. Tiger is set to premiere November 2, 2018.
About Tiger
Official Description: A practicing Sikh is banned by the boxing commission for refusing to back down from his religious beliefs. Through racial profiling and stereotypical threats, he does what any strong American would do, fight back.
The comparisons to Rocky are not only surface level. Yes, they are both movies about boxers overcoming adversity. However, as with Rocky, the star boxer here (Prem Singh) also wrote the film (with co-star Michael Pugliese) back in 2010. And took a long time to convince enough people to get the movie made. However, Singh and Pugliese’s hard work paid off, Mickey Rourke signed on, as did director Alister Grierson, and here we are. Tiger looks every bit as grounded in reality as Rocky or Creed with just as much tension, drama, and boxing action.
Mickey Rourke as Frank Donovan
Prem Singh as Pardeep Nagra
Janel Parrish as Charlotte
Marshall Manesh as Kulwant
Michael Pugliese as Bryan Doyle
Jacob Grodnik as Barry Zaya
I can’t get over Mickey Rourke here. What’s going on? I need to know if that’s makeup or more surgery he’s had done to fix the problems he gained from being a boxer in the 90s. With that said, this looks like a great fit for what he brings as an actor. I’m positive that one day, Rourke’s life will make for a really interesting movie and likely win an Oscar for a future lead actor.
The trailer for Tiger sets up an interesting film as it makes you feel the tension of this hyper-religious fighter facing a tough decision that affects everything he believes in.
Did this trailer get you excited for Tiger? Leave your comments below!
Harley Quinn fans are in for a treat as Frank Tieri, Inaki Miranda, Eva De La Cruz and David Sharpe revisit the Old Lady Harley concept in a debut issue that is fun, funny and sets up one hell of an apocalyptic future for the DCU.
After liberating New York City from her now-feral Gang of Harleys, poor Harley wants nothing more than to slip back into retirement in her coastal (and heavily guarded) paradise. But the Laughing Boys Gang has another idea—they’ll follow her to the ends of the Earth, to drag her back to their leader! It can’t actually be…him! Right?! He couldn’t possibly still be alive, could he? After all…Harley killed him herself with her bare hands! Should she turn to President Power Girl for help? Or flee to the 51st state, Atlantis? Step into an insane vision of a future DC Universe we all better hope we don’t live to see!
Old Lady Harley #1 Written by: Frank Tieri Art by: Inaki Miranda Colors by: Eva De La Cruz Letters by: Dave Sharpe
Writing
Harley Quinn has sort of become DC’s defacto ‘metacharacter’. That can be a blessing in the hands of the right writer and a curse in the hands of the wrong one. Luckily, Frank Tieri is the right kind as Old Lady Harley #1 is a solid balance of pop-culture riffing and honest to goodness comic book world building. Tieri excels at the mile a minute jokes Harley fans are accustomed to. Some of the highlights here include a ‘Kraken Barrel’ restaurant (I’m sure you can figure that one out!), ‘nameless references to Thanos and Infinity War (complete with finger snapping comment), and an extended cameo by none other than the fucking Condiment King himself.
It’s not all Jokes though, as one can tell Tieri is carefully laying out not only a detailed future DCU but a tragic story for Harley as to what led her to her current state (SPOILER ALERT it has to do with something she did to the Penguin). Highlights for this future DCU include Azrael robots, the Laughing Boys Joker gang, and best of all (ANOTHER SPOILER ALERT) a cliffhanger appearance by Batman Beyond!
ART
For any Harley Quinn comic to work, the art has to match the energy of the writing beat by beat. Inaki Miranda and Eve De La Cruz do a great job of following the momentum of Tieri’s storytelling. The visuals pop and are filled with visual jokes and easter eggs. The layouts are dynamic. The colors compliment everything well. Check out page 21 for some fantastic composition!
Letterer Dave Sharpe also does some awesome work with fonts, word balloon shapes and other lettering tricks. It adds an extra level to everything.
Conclusion
Harley Quinn fans need to check out Old Lady Harley #1. It gives you everything you love about this fan favorite character, but with the addition of a crazy new world to explore as well. Who better to guide you through an insane new future than the DC’s insane Harleen Quinzel?
Spider-Gwen: Ghost Spider #1 doesn’t waste any time jumping into the action. The story picks up where Spider-Gwen Volume 2 left off, with Gwen Stacy back on the street and slinging webs once again.
The new series ties into Spider-Geddon, the sequel to 2015’s Spider-Verse story. Marvel put a lot of energy into pushing this latest major event across multiple titles, with the story set to wrap-up (of course) just in time for the release of Into the Spider-Verse in December. That said, Spider-Gwen: Ghost Spider #1 is much more than a shallow promo.
The Writing
Gwen Stacy’s just getting back into the swing of things (no pun intended). However, the comic crackles with energy right from the first page and doesn’t let up. Seanan McGuire’s writing is tight and constantly pushing the story forward. We cover a lot of ground here through snappy banter in characteristic Spider-form.
At the same time, it doesn’t feel like we’re being rushed. The book still takes the opportunity to slow down and soak in a contemplative moment here and there. Everything leads up to an emotional reunion on the last page, but it doesn’t feel forced or unearned.
The book pivots around issues 1 and 2 of Spider-Geddon, though, so you may be missing a few details in the latter half if you’re not following that story. Even then, there are plenty of context cues throughout, so it shouldn’t be a major issue. Even if you’ve never picked up any Spider-related title, Spider-Gwen: Ghost Spider #1 is a good jumping-on point.
The Art
The combination of Rosi Kampe’s inks and Ian Herrin’s colors work great here. Every page has a sense of kinetic energy, keeping you locked in the story.
The line work throughout Spider-Gwen: Ghost Spider #1 is electric. The inks seem to jump off the page, while everything flows naturally from one panel to the next. The work is crisp, but reflects that the artist knows how to dabble in the lighter, more cartoonish aspect of the medium.
The line work is accentuated by vibrant color choices and splashes of contrast. The bright palette makes the more abstract backgrounds pop and propel the action. There’s a fight scene towards the end of the issue in which most of the backgrounds simply dissolve into abstract colors. It could have come across as an easy way to speed-up production time, it actually works to the book’s benefit. The flashes of color help to sell the sense of motion and focus the reader’s attention, like a flash bulb lighting the scene.
Final Thoughts
Spider-Gwen: Ghost Spider #1 is an excellent way to jump back into the story of Gwen Stacy as a member of the Spider-family. Returning fans and new readers alike should find plenty to love here.
Nick Spencer, Humberto Ramos, Victor Olazaba, Edgar Delgado and Joe Caramanga deliver another fantastic issue of Spider-Man in a run that is already becoming classic.
The heist of the century is ON! Who are the Thieves Guild of New York? Spidey might die trying to find out.
Amazing Spider-Man #8 Written by: Nick Spencer Art by: Humberto Ramos Inks by: Victor Olazaba Colors by: Edgar Delgado Letters by: VC’s Joe Caramanga
Writing
If you have been reading Spider-Man since Nick Spencer took over, then you already know the scribe was meant to write the Ol’ Web-head. Spencer has a knack for capturing that perfect Parker inner monologue and it’s especially evident in this issue. The story starts with a free-falling Peter telling us “I usually love this”, then reveals that this current ‘flight’ through the city is not of his own doing. That one-on-one approach to Pete’s voice is arresting and grabs you. But Spencer, ever the clever narrative trickster, then takes us out of that moment and jumps into the introduction of a mysterious new group of villains, The Thieves Guild and it’s leader Odessa Drake. The Guild has been stealing equipment (including cleaning out the Hall of Costumes in Avengers Mansion) from some of the Marvel Universe’s biggest heroes and everyone wants to know why. New villains are always a great idea and by having the Guild be a threat to the Marvel Universe as a whole nicely ties this title to the overall 616 universe without having to be part of a big crossover. Drake and the Guild may seem a little typical at the moment, but Spencer has pulled the rug out from under us before; something is brewing with these guys for sure (again just look at what they are stealing).
We also get to see Spencer write some of Marvel’s biggest characters (even for just a panel or two); there are fun moments with Doctor Strange, Ghost Rider, The Punisher, Tony Stark, and Jarvis as they find out their stuff is missing (a Dude Where’s My Car moment with Ghost Rider is a highlight). The stakes are high but these quick scenes are plaid loose, fast and fun. They speed and advance the narrative perfectly.
Mary Jane is also fleshed out more in this chapter. She a character that has had many changes in recent years, yet Spencer is able to make all of those work as a way to giver MJ growth.
But back to Pete. Throughout the issue, we get a sequence of Peter and MJ on a date and it’s classic for all the great reasons. Spencer creates perfect chemistry between the two as they share ice-cream at a food fair. Their newfound romance does not feel forced. It feels natural, organic and real. Two old friends finding out they love each other.
This being a Spencer comic, it has to end on a cliffhanger. And the reveal that…SPOILER ALERT…Spidey had his web shooters stolen (hence the issue opening freefall) is fantastic. When you toss in a last minute appearance/attack by the Black Cat, you get pumped for the next issue.
If anything is missed in this issue it’s an appearance by recent regular cast member Fred Myers/Boomerang. Fred is quickly becoming a fan favorite and he is definitely missed here.
ART
Humberto Ramos is a very energetic and atmospheric artist. When you add Victor Olazaba’s inks and Edgar Delgado’s colors, you get a perfect package for this title. Ramos excels at Spider-Man poses and anatomy. There is an animated feel to his Spidey that adds so much energy to an already energetic character.
Olazaba’s inks solidify the images, giving them weight and texture. And Delgado’s colors create a mood and feel that jumps off the page (just check out the palette in the nightclub sequence that introduces Odessa Drake.
A shout out must be given to letterer Caramanga, who has some neat narration boxes and clear, easy to read font. It’s a subtle thing but it adds to the reading experience immensely.
Conclusion
Amazing Spider-Man is one of Marvel’s best current titles. Spencer and company continue to make Spidey engaging, fun to read and sort of the totem pole of the Marvel Universe. Not a book to be missed. Swing by your local comic shop and grab this up before the Thieves Guild gets to it!
Books of Magic #1 is the last of the four new stories to join Vertigo’s Sandman Universe line. This one feels a bit less connected to the other titles in the shared universe, though.
Instead, the book recaps much of what teenage magician Timothy Hunter underwent in his initial four-issue run penned by Gaiman himself. This makes it a friendly jumping-on point for new readers. However, it might feel a little redundant to returning fans of the title.
The Story
We see Timothy struggling to live as average teenager, while still cognizant of his supernatural abilities. Overall, though, little has changed for Tim in the years since we last followed his adventures. He is cocky and self-assured, but his grasp on his powers, and the discipline required to use them, seems weak. It’s like the character has forgotten everything he learned in his earlier outings.
As a result, Books of Magic #1 feels less like a continuation of the story, and more like a relaunch. This could be intended to set up more dynamic growth for the character, though, so not a major gripe.
The first issue plays up the “chosen one” angle, emphasizing “Magic is neither good nor bad. Only its use determines its character.” Playing off that, we’re introduced to a mysterious cult who seems intent on ensuring Tim never complete his magical learning, for fear of how he’ll use his power some day.
The story in this first issue is solid, but it doesn’t move forward much. The story doesn’t really pick up momentum until its last few pages, rendering most it as setup. Writer Kat Howard is clearly building toward more in later issues, but this just feels like preamble.
The Art
Tom Fowler’s art in Books of Magic #1 provides the story an interesting aesthetic. The first five pages constitute a recap of Tim’s story, and the arcane imagery helps sell the magical angle.
Once we get into the story proper, the style settles down a bit. The lines are sharp and angular, especially in characters’ faces. While it works for some great, expressive looks, it has the side effect of making certain characters look a bit haggard, rather than youthful.
Like other titles in the Sandman Universe thus far, the colors used are rich throughout the issue. Everything is cast in shades of blue and orange, giving a natural, though just-slightly-off vibe.
Final Thoughts
Books of Magic #1 is a good start for the latest installment in this story. I feel like we’re going places…we just can’t really tell where yet, based on this first issue.
Lodger is a new crime comic out this week by David and Maria Lapham (Stray Bullets), and it’s a captivating ride sure to get its hooks in you.
About the comic: Ricky Toledo is on the hunt for Lodger, a travel blogger who is murdering his way through the midwest. She follows him to a small town, Blossom, in the wake of his latest attack.
And if you think that’s all this comic is about, you’re out of your mind. Lodger #1 throws you right into the middle of this story, and it’s immediately clear that there’s much more going on than meets the eye. The Laphams don’t bother explaining much either. You have to start picking things up and piecing them out as you go along. By the end, you have a hundred questions and need the next issue ASAP. It’s captivating, engaging storytelling.
We don’t learn much about the characters from this first installment, and that’s by design. This issue isn’t a character study; it’s a peek into this surreal, vicious world. The Laphams provide a general quick-look at Ricky and Lodger’s personalities, but there’s nothing about their backstory or relationship. Again, this mystery element is at the heart of Lodger, and it’s what makes it so compelling. The Laphams don’t hold their audience’s hand; there’s a trust in place.
Lodger is the first black-and-white miniseries for IDW’s Black Crown imprint. Fans of Stray Bullets know what they’re in for in terms of David Lapham’s art. The black-and-white instantly creates a crime/noir atmosphere, as well as a gritty, underground one. The dialogue and sound effects seem to be hand-lettered and embedded into the art, which further sucks you in.
Lapham has a very unique style in terms of panel structure and layout. It’s nothing flashy, mostly grids. But each panel feels like a snapshot, each one essential to the story. It’s simple and effective. Lapham is a master visual storyteller. And even though the panel density is on the high side – the typical page has eight panels – it never slows down the pacing.
Fans of the Laphams and Stray Bullets are already going to check out Lodger. But if you’re unfamiliar with their work, and especially if you’re a fan of crime stories, use this as the perfect entryway into their dark, twisted, surreal world.
Lodger #1 is created and written by David and Maria Lapham, and drawn by David Lapham. The variant cover is by Bill Sienkiewicz. Shelly Bond edits the series.
“Rosa” started as many DOCTOR WHO episodes have, The Doctor is unable to convince the TARDIS to go where it’s being told, and instead materializes at a specific place and moment in time. The place and moment in time that the TARDIS has chosen is Montgomery, Alabama on November 30th, 1955 — one day before Rosa Parks refused to give up her bus seat to a white passenger, influencing the civil rights movement in the United States.
Rather than having an interest in the history of civil rights, the TARDIS chose this time and place to materialize because it picked up traces of artron energy, the same kind of energy that powers the TARDIS.
A fellow time-traveler turns out to be the source of the radiation. Wearing a leather jacket, white T-shirt, and jeans — greaser style — Krasko, a convicted serial murderer of thousands, is an escapee from a prison in the distant future. Krasko reveals his plan: he came back to this specific moment in time to ensure that Rosa Parks would not become an icon for the civil rights movement. Krasko, revealing himself to be quite the bigot, describes Parks’s refusing to give up her seat as the moment when everything changed. He seeks to prevent the ensuing push for civil rights for visible minorities.
DOCTOR WHO: “Rosa” – Doctor Who or Doctor Beckett?
Although it’s true the Doctor has had similar adventures over the show’s long-running tenure, I can’t think of any that were so on the nose. “Rosa” reminded this viewer more of an episode of QUANTUM LEAP than it did of an episode of DOCTOR WHO. The commentary on racial intolerance in 1950s America was well done. The commentary provided by way of Ryan thinking Rosa Parks was the first black female bus driver, rather than knowing about her actual role in history, was similarly on point. It all just felt a bit contrived.
Combining the Doctor’s drive to keep history on track with the forgettable villain bent on wreaking havoc with the timeline, and it felt like the only thing missing from this QUANTUM LEAP episode was a holographic projection named Al that only the Doctor could see and hear.
DOCTOR WHO: “Rosa” – Martin Luther King and Rosa Parks
One of the strangest moments in “Rosa” came when Ryan got to sit in on a meeting between Martin Luther King and Rosa Parks. Although this scene provided for some adorable reactions from Ryan — calling Dr. King “Martin Luther King” and Parks “Rosa Parks” every time he referred to them — it stuck out as unnecessary to the plot, seeming more like padding than anything else.
The historical reference is there — King started the Montgomery bus boycott shortly after Parks was arrested — but this scene did little to advance the story.
DOCTOR WHO: “Rosa” – History from Behind the Bins
The highlight of “Rosa,” for me anyway, was Yaz and Ryan’s conversation about the contemporary state of racial inequality. Both bemoan the lack of total equality they face: Ryan talks about getting pulled over by cops, and Yaz talks about being called a terrorist on her way home from the mosque. They have this conversation while hiding behind a dumpster from a racist Montgomery police officer.
The content of this scene, although not wholly related to the episode’s plot, highlighted a point that hasn’t gotten much time on DOCTOR WHO. Although women and visible minorities have been accompanying the Doctor on his (and now her) adventures over the years, many who traveled back in time would be subject to a variety of racist and sexist attitudes from the temporally native populace. In truth, they would likely have to participate in the adventure “from behind the bins” as Yaz and Ryan did. It’s refreshing to see producers and writers tackle this sticking point rather than simply gloss over it.
DOCTOR WHO: “Rosa” – Final Thoughts
Bigotry is a difficult topic for any TV show to tackle, and DOCTOR WHO has attempted this tackle on a number of different occasions. Although I take issue with the somewhat ham-handed way in which the topic was broached, I applaud the creative team for their effort in highlighting an ongoing problem that many pretend is solved.
Ryan’s somewhat hasty actions again have me questioning his emotional stability — sending a mass murderer to a random point back in time was hardly a good idea. And, that the Doctor didn’t immediately reprimand him for doing so struck me as uncharacteristic. That Ryan set the controls to as far back as possible has this reviewer wondering if Krasko is indeed the “timeless child” that the Remnant mentioned in “The Ghost Monument.” We shall see.
The Flash delivers another interesting episode that delves deeper into certain characters. The episode that promises the death of Vibe doesn’t deliver said death – which isn’t a bad thing. “The Death of Vibe” does deliver a look into previously sidelined characters. Characters like Caitlin Snow and Joe West finally get time to shine this season. Confusing title notwithstanding, “The Death of Vibe” is another interesting entry in the fifth season of The Flash.
The majority of this episodes focuses on the Barry-Nora dynamic. While the series has focused on their strange dynamic before, this episode goes deeper into Nora’s impact. As it turns out, her presence has totally rewritten the history of new villain Cicada. It’s enough of a twist to keep the West-Allen dynamic fresh. Even though it’s a subject The Flash has explored for two weeks, it hasn’t gone stale.
Tom Cavanagh as Harrison Sherloque Wells (copyright CW)
While the show continues exploring Nora’s impact, it also introduces a “new” character. “New” being an interesting word – it’s a new iteration of classic character Harrison Wells (Tom Cavanagh). This version of Wells is an ace French detective named Harrison “Sherloque” Wells. The accent is odd, but the character does provide some missed Wells shenanigans. Sherloque is enough of a twist on the Wells character that it makes for a solid re-entry point for Cavanagh.
However, the side character are especially fun this episode. The Flash gives screen time to people who haven’t gotten a lot so far this season. For instance, both Caitlin and Ralph team-up for an entertaining and revealing side quest. Ralph is up to his usual stretchy antics, while Caitlin goes deeper into the mystery of her “dead” father. Joe West also gets some much-deserved free time, as he gets interrogated by Cicada. Characters who haven’t been as prevalent this season get some solid development this week.
Cicada even gets a little more development. As The Flash builds up its titular villain, they also give him a bit more back story. Chris Klein spends some time outside the mask, as he visits his comatose daughter in the hospital. This new detail, along with his swapped secret identity, builds the character up. Cicada is a cool character on his own, but his human side is also interesting. How the two sides will complement each other will be interesting to watch.
“The Death of Vibe” isn’t the strongest Flash episode, but it does some solid character building. The title is awfully misleading, and reads like a cry for attention. It’s particularly interesting since this episode didn’t need the cry. The Flash delivers a solid episode with strong characters that doesn’t need the deadly tease. “The Death of Vibe” delivers more than enough action and development that you’ll forget the dumb title almost instantly.
The second episode of The Rookie hits ABC tonight with Nathan Fillion and his crew fighting through the pilot origin story to get to the meat and potatoes of the series, which is full of heart and compassion.
“Crash Course”
Talia forces Nolan to confront his personal moral instincts in order to be a good cop after he encounters a kidnapping victim. Meanwhile, Lucy is temporarily placed with a new training officer who tests her patience, and Jackson must confront his failures head-on if he wants to be an officer.
LAPD rookie training is a plot thread that works so well for the series as it breaks the show up into three plot threads that converge throughout the episode. I’m not sure how real The Rookie is, but you feel like you get a good understand of what it takes to be a police officer as you watch it through three distantly different lenses. The show puts you in the trenches with the rookies, and you are there for every success and failure. When you add the charm of Fillion and Afton Williamson as student and teacher, the series finds its heart, and you start to sense something special.
“Crash Course” worked well to give Fillion moments to shine and be the everyman the world loves. But, the plot threads at starting to build for the gut punch climax we all know is coming for Nolan as it wouldn’t be a ‘hero’s journey’ without tragedy. As we get more involved in the show and connect with characters, we want more information as questions are starting to arise. Who owns Nolan’s house, and why does Capt. Zoe Anderson (Mercedes Mason) have a soft spot for Nolan?
The only major fault of the episode was the forced comedy. The comedic elements of this show should be organic and not setup throughout the episode. The fewer tropes the series uses, the better.
Overall, “Crash Course” gave the show the heart it desperately needed and sets up the series for future storylines.
Are you watching The Rookie, what do you think of the series so far? Comment below with your thoughts.
In the latest episode of Kieran’s Movie Space, Kieran reviews the latest Marvel show to land on Netflix, Daredevil season three! Is this the best season so far? Is Kingpin still the best villain in the Marvel Cinematic Universe? Listen to the spoiler-free review below!
The first in a planned series of shows detailing the Marvel universe, “Daredevil” follows Matt Murdock, attorney by day and vigilante by night. Blinded in an accident as a child, Murdock uses his heightened senses as Daredevil to fight crime on the streets of New York after the sun goes down. While Murdock’s day job requires him to believe in the criminal justice system, his alter ego does not follow suit, leading him to take the law into his own hands to protect his Hell’s Kitchen neighbourhood and the surrounding communities.
What Is Kieran’s Movie Space?
Kieran’s Movie Space is an insightful, fun and reliable new podcast for fans of all things cinema. Host Kieran McLean delivers in-depth reviews of the latest movie releases, from small indie movies to massive blockbusters. New episodes weekly…or whenever I feel like posting.
Amazing Spider-Man #8
