Review: UNSTOPPABLE WASP #1 is a Solid (if Predictable) Relaunch

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Nadia Pym returns in The Unstoppable Wasp #1, an all-new series from Marvel. The book feels like a decent jumping-on point for new readers. However, there’s enough material to please returning fans of the character, too.

The Story

Nadia’s been busy since Volume 1 of her story wrapped last year. With the Agents of G.I.R.L., her backup team of young super-scientists, she’s managed to build a pretty respectable operation at Pym Labs. Nadia’s occupied with her lab work, but still finds time for crime-fighting between her other activities.

Our story picks up when her driving lesson with Jarvis is interrupted, and she’s tasked with busting up an A.I.M. raid. The writing is setup to appeal to readers of all ages, but young teens are the clear target audience here.

In all, it’s a solid reintroduction to the character. Nadia learns that whateverA.I.M. is planning, it has something to do with her father Hank (Ant-Man), whom Nadia presumes to be long dead. It’s an interesting twist, and writer Jeremy Whitley is clearly planting the seeds of the broader story.

That said, there’s not really as much to hook new readers as you’d hope for in a first issue. The supporting cast falls a little flat, and there’s hardly any sense of tension throughout. The Unstoppable Wasp #1 has enough charm to warrant picking up issue two next month. It’s not an immediate hit, though.

The Artwork

The artwork for Unstoppable Wasp #1 is provided by Gurihiru (the team of Chifuyu Sasaki and Naoko Kawano). Fresh off their run on The Unbelievable Gwenpool, the pair brings the bright palette and softer lines that have become their trademark. Lots of vibrant colors on every page make the artwork pop and give it a cartoonish look.

There’s a lot of spontaneity to the page layout, which contributes to that cartoonish vibe as well. It works…but it can get a little disorienting from time to time.

Final Thoughts

The Unstoppable Wasp #1 doesn’t hit the mark across the board. However, it’s a fun story that’s fit for all ages. It’s definitely worth checking out if you’re a fan of Marvel’s other titles featuring younger heroes like The Unbeatable Squirrel Girl or Ms. Marvel.

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DROWNED EARTH Begins As Snyder’s JUSTICE LEAGUE Starts To Blossom

By

Brandon J. Griffin

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The first big crossover event of Snyder’s Justice League run is here. “Drowned Earth” begins now and comes with some major stakes and new frontiers.

SPOILERS LIE AHEAD

We’re now ten issues into the great Scott Snyder’s Justice League, both the tone and team are nicely settled in. Snyder has a great handle on a pretty large roster of DC’s big guns. Now that we’re all comfortable with each other and took a tour of the Hall Of Justice, we can start digging into what will be Snyder’s JL legacy with story arcs like “Drowned Earth.”

Our heroes are scattered, solving various problems caused by the Source Wall being broken. Aquaman, Wonder Woman, and Firestorm are investigating a puzzling occurrence when they find themselves in the company of a “Space Kraken.” Aquaman gets separated and secluded into the Blood Reef, coming face-to-face with our villains–the triumvirate of evil ocean deities.

Snyder’s cold open with a young Arthur Curry and his human father discussing the discovery of oceans plays out extremely well by the end of this prologue. Scott Snyder has a talent for tapping into the mythology of a character and shining a light onto some of the untapped, dark corners and crafting a story from it–we learned that during his prolific run on Batman.

Ocean deities, in similar fashion to Earth’s Poseidon, from the far reaches of space hellbent on drowning and reshaping the Earth are a formidable foe for DC’s heaviest hitters. They look like a fun cross between Tamaraneans (Starfire) and the undead shipmates from Pirates Of The Caribbean: Dean Man’s Chest.

With Martian Manhunter off-planet on an adventure of his own, Batman takes over the coordinator position. Doing so from a massive body cast is a story attribute that will be both memorable and undoubtedly give way to a classic Batman moment of triumph eventually.

All the smaller groups that our heroes are in gives Snyder an opportunity to grow their chemistry further before things really crack open. His voice for each member of this huge cast is splendid, every quieter moment is flawlessly executed.

This prologue issue feels very much like the multi-episode arcs of the Justice League and Justice League Unlimited cartoons. Tapping into that nostalgia is going to present results every time when done properly. I imagine a lot of the readership has a special place in their heart for at least one of those two shows.

“Drowned Earth” may be a crossover story event through a few different titles, but for this to hit as hard as it can, it should be mostly a Justice League story.

Artist Francis Manapul handles everything but the letters (Tom Napolitano does great work). Justice League #10 is a stunning piece of work. Each page is littered with gorgeous splashes of color and vast landscapes. Manapul injects a ton of extra emotional into these characters at every turn.

The new characters, especially the Space Kraken, are sleek and interesting. The various Justice League uniforms on display are altered in tasteful and practical ways. There isn’t much action to this issue but that doesn’t take away from the drama or stakes one bit.

His work on the color is specifically breathtaking. The pink glow reflecting onto Batman’s body cast as he monitors the League is beautiful. There’s a lot of pink hue and glow throughout the whole issue that gives it a great shine. It provides a great contrast when we transition to the volcano environment where Superman is.

“Drowned Earth” looks to be Snyder’s first stab at a classic JL tale. He’s got a great voice for every character, a fresh and interesting premise, and gorgeous art by Francis Manapul. Justice League #10 is a superb opening number for what looks to be a very promising crossover story.

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Review: THE OLD MAN & THE GUN Is Refreshingly Old-School

By

Sean Boelman

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Supposedly the final film of Robert Redford’s long and successful career, The Old Man & the Gun is the newest movie by festival darling David Lowery (A Ghost Story).

The film is based on a New Yorker article by David Grann. The story follows Forrest Tucker, a man who at the age of 70 escaped from San Quentin and set out on a string of heists that confounded authorities and caught the eye of the public.

This is perhaps one of the most charming movies to be released this year. Looking at Lowery’s filmography, it is surprising this was so enjoyable, as most of his prior films are on the darker side with a bittersweet tinge. This movie fully embraces the sweetness, leaving most of the bitterness behind.

The writing of the film is highly unconventional, making it feel fresh and unique. It is far from a normal biopic, but it also isn’t quite a normal heist movie. The film takes the best elements of both and combines them into one cohesive viewing experience. Additionally, there is a compelling (and unusual) love story in there too.

the old man and the gun redford — Robert Redford as “Forrest Tucker” in the film THE OLD MAN & THE GUN. Photo by Eric Zachanowich. © 2018 Twentieth Century Fox Film Corporation. All Rights Reserved.

The movie’s characters are also extremely complex. There are essentially two co-leads: Redford’s eponymous bank robber and the detective trying to catch him, played by Casey Affleck. Obviously, Redford’s character is meant to be charming and likable. However, the film gives him a much-needed ambiguous side that makes him even more sympathetic. Affleck’s character, on the other hand, is developed through more traditional (but still highly effective) means.

Some of the best scenes in the movie are the scenes that these two characters share together. The dialogue is sharply written, and the chemistry between the actors is phenomenal. Redford’s character also has a few great scenes with Sissy Spacek’s character. Surprisingly, even though her role exists primarily in the B-story, Spacek’s character is still strong and well-rounded.

The film is downright entertaining, too. The story moves at a very quick pace and has a short runtime, allowing it to hold attention quite easily. The heist scenes are entertaining largely because of their ironic nature. They aren’t intense, but they aren’t meant to be. Instead, they are meant to be humorous. The dialogue is also witty, containing quite a bit of humor.

old man and the gun redford spacek — Robert Redford as “Forrest Tucker” and Sissy Spacek as “Jewel” in the film THE OLD MAN & THE GUN. Photo by Eric Zachanowich. © 2018 Twentieth Century Fox Film Corporation. All Rights Reserved.

Additionally, the movie is very well-executed. The film has a lot in common with Lowery’s other work: a very personal, old-timey feel that subverts many tropes. However, this is certainly the most refined of his movies yet. He seems to have learned from past mistakes, but still takes risks, succeeding far more often than not.

The cinematography is absolutely beautiful. The visual style of the film is excellent, a perfect throwback to the style of the 70’s. The graininess that the visuals have gives it a level of classiness, complementing the characterization choices well and making the movie all the more immersive. Additionally, the music by Daniel Hart should not be forgotten. It does an excellent job of creating the film’s tone.

However, perhaps this movie’s biggest draw is its performances. Should this really end up being Redford’s last film, it is a good swan song. It is his best performance in years, as it allows him to be charming and charismatic while maintaining a mysterious shroud of complexity around him. Although Redford always runs the show, Affleck and Spacek also give great supporting turns. They both capture the nuance of their characters quite well.

Overall, The Old Man & the Gun is a refreshingly old-school, yet impressively bold movie. It is Lowery’s most accomplished film yet and perhaps one of the best of the year.

The Old Man & the Gun is now playing in select theaters and expands October 19.

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‘First Man’ Podcast Review: An Emotional And Inspiring True Story

By

Kieran McLean

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October 17, 2018

In the latest episode of Kieran’s Movie Space, Kieran delivers his spoiler-free review of Damien Chazelle’s latest cinematic offering, First Man. Is this a worthy follow-up to La La Land and Whiplash? Should we expect Oscar nominations for Ryan Gosling and Claire Foy? Listen to the episode below and find out!

More – ‘A SIMPLE FAVOR’ Review: A Bizarre & Compelling Thriller

If you like what you hear, it would be awesome if you hit the like/subscribe buttons and drop a comment in the appropriate section.

Listen to the review below:

[embedyt] https://www.youtube.com/watch?v=xjvA_eDZd7Q[/embedyt]

More About First Man

On the heels of their six-time Academy Award®-winning smash, La La Land, Oscar®-winning director Damien Chazelle and star Ryan Gosling reteam for Universal Pictures’ FIRST MAN, the riveting story of NASA’s mission to land a man on the moon, focusing on Neil Armstrong and the years 1961-1969. A visceral, first-person account, based on the book by James R. Hansen, the movie will explore the sacrifices and the cost—on Armstrong and on the nation—of one of the most dangerous missions in history.

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.

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Spoiler Review: BATMAN #57 Is Hard Hitting, Brutal and Comes With A Shocking End

By

Manuel Gomez

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Batman #57, by Tom King, Tony S. Daniel, Mark Buckingham, Andrew Pepoy, Tom Morey and Clayton Cowles is brutal, shocking and violent, yet elegantly told.

Batman #57
“Beasts of Burden”: Conclusion
Written by: Tom King
Art by: Tony S. Daniel
Colors by: Tom Morey
Folktale Art by: Marck Buckingham & Andrew Pepoy
Letters by: Clayton Cowles

Batman confronts the Russian assassin KGBeast, seeking to bring justice to the man who put a bullet in the head of Nightwing. But will the anger prove to be too personal? Is it about justice or is is now about brutal revenge?

SPOILERS AHEAD

Writing

It’s hard to top last issue’s ‘holy shit’ moment of Nightwing getting a headshot courtesy of Anatoli Kenyazev, the KGBeast but writer Tom King does something almost as daring with this conclusion. After a brutal, almost wordless (unless you count grunts and moans) fistfight…SPOILERS FOLKS… Batman snaps KGBeast’s neck and leaves him paralyzed, lying in the snow, miles away from anyone or anything that can help him. It’s an act that seems almost out of character for the Caped Crusader. But this is fucking Batman we are talking about, so a certain level of planning and expectation has to always be considered. He knows what he is doing and not necessarily leaving the man to die. King has shown a deep understanding of Bruce’s psychology and what seems out of place is always shown to have been something lurking beneath the surface (like the much talked about ‘Batrimony’ and proposal).

Whatever your feelings on the final act of this fight, you have to admit that King has written one hell of a fight scene that showcases a master’s understanding of panel pacing and suspense building. The fight unfolds almost in real time. It’s fast and brutal.

But it’s not all fisticuffs as the issue is anchored by a couple of tender scenes that show both Bruce and Anatoli being read the same folktale, The Animals and The Pit, by their respective fathers. The moments of tenderness help to humanize these two brutal men and give us a glimpse at what drove each of them to violence. The prose here is also elegant; a nice yin to the yang of the guttural sounds of the fight.

Art

The art in this issue is phenomenal. Tony S. Daniel is a master of drawing Batman, but his linework craft here is on another level. The fight ‘choreography’ is amazing, you can almost see these two pissed off men actually hurling fists and kicks at each other. The attention to detail is great too, as elements like the falling snow, texture on surfaces and facial expression play a huge part in making the issue work.

The folktale parts, by Buckingham and Pepoy, feel like genuine storybook illustrations. They are beautiful, delicate and suddenly brutal (like all great fairytales/folktales).

Accolades must be given to both colorist Tom Morey and letterer Clayton Cowles, whose work add the finishing touches that complete the package.

Conclusion

Batman #57 is the kind of comic that will get people talking, which has been a huge element of King’s long run so far. King, along with his round-robin style of collaborators, is creating a true medium defining classic run that has changed and will change Batman. A mark is being left on a character over 80 years old, and that is no easy feat. This is a book to keep reading until the end.

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Review: HALLOWEEN Is Almost A Worthy Sequel

By

Sean Boelman

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Considered by many to be one of the seminal films of the horror genre, John Carpenter’s 1978 classic Halloween is receiving yet another sequel. Only this time, the slate has been wiped clean, this movie not acknowledging any of the series but the original.

The film follows Laurie Strode (Jamie Lee Curtis), the survivor of the original killings in Haddonfield, as she confronts Michael Myers 40 years later after he escapes from the mental institution in which he was being held.

This was better than at least three-quarters of the horror movies that come out today, and better than most (if not all) of the other sequels in the series, but it pales in comparison to the original.

Unfortunately, this film seems to have lost touch with what made the original feel special. Instead, it is a much more modern, mainstream horror flick. It has some really great moments, but there are also some parts that disappoint.

For one, the movie lacks the intelligence of the original. A significant theme in the original was the idea of the “Boogeyman” punishing those who had been sinful. Everyone who died in that film had a reason to die, giving it overall symbolic meaning. That is not the case here. Instead, the killings are highly random, making the movie feel like a generic slasher cash-grab rather than the intelligent horror that should be expected.

Furthermore, the film abandons a focus on atmospheric tension in favor of more gore-based scares. There were a few moments that were creepy, but the film was never outright scary. Thankfully, there wasn’t many cheap jump scares, but the comparative abundance of gore was frustrating. None of the imagery is particularly horrifying, so the movie isn’t as impactful as it could be.

That being said, the film does some things well. There are lots of references in the script, including self-aware jokes and recreations of some of the iconic scenes from the original. These will undoubtedly be the biggest draw for fans and are really what keeps the movie enjoyable.

Additionally, the film does a very good job with the characters. The way in which the cat and mouse archetypes are reversed is quite interesting, although this doesn’t come into the story early enough. Some of the new characters, like Allyson, Aaron, and Dana, are also likable. Perhaps the biggest highlight of the movie, though, is the fact that all of the female characters are strong. Even the ones who perish don’t go out without a fight.

The film is also quite well-shot. The cinematography and the editing are both quite strong, with a high amount of complexity for the genre. The camera movements are very fluid, and the framing is aesthetically appealing. The production design is memorable too. The mask is great, with the additions making it even creepier. Additionally, the score by John Carpenter et al. does an excellent job of taking the iconic themes from the original’s soundtrack and giving them an inventive, modern twist.

The performances are good as well. Jamie Lee Curtis’s performance is wonderful. She obviously has a lot of love for the role (this franchise essentially started her career), and it shows. Will Patton does well in his role, filling an archetype from the original film, but doing enough to make it his own. The only real weak link in the cast is Judy Greer, although she eventually finds her own towards the end.

Overall, Halloween takes the series a step in the right direction, but fails to live up to its iconic predecessor. There’s still a lot to enjoy here, though.

Halloween opens in theaters October 19.

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Review: HALLOWEEN Is A Chilling Throwback To Classic Slasher Flicks

By

Anthony Composto - EIC

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Michael Myers is back to terrorize audiences in David Gordon Green’s Halloween, out this weekend.

About the movie:
Set 40 years after the original flick, Myers (Nick Castle, returning to the role for the first time since since 1978) has again escaped custody, intent on killing Laurie Strode (Jamie Lee Curtis). But Laurie’s had four decades to prepare for this moment, and she’s more than ready for him.

From the opening credits, you know you’re in for a treat. The credits are done in the same style as the original, setting the tone for a movie that’s intent on bringing you back to the slasher movie heyday. And it succeeds in doing just that: Halloween feels like an old school slasher flick in every way, and it’s so damn refreshing.

The score by John Carpenter, Cody Carpenter, and Daniel Davies gets a large amount of credit for that feeling. A horror movie is only as good as its soundtrack, and this soundtrack is GREAT. It harkens back to the original while forging its own path, and the synthetic sound still creates this uneasy tension that’ll make the hairs on the back of your neck stand up. It’s elegant, it’s beautiful, and it’s simple.

And that’s where this movie’s success lies: in its simplicity. Again, in honoring the original Halloween, this movie is as straightforward as it gets. Michael Myers escapes and goes on a killing spree. Director David Gordon Green, along with writing partners Danny McBride and Jeff Fradley, cuts out all the crap from the old canon. Gone are Michael’s complicated family tree and motivations. He’s back to just being evil incarnate in a William Shatner mask. Even when you think the movie is going to get more complicated, Michael’s there to set things straight. Again, so damn refreshing.

The true strength of the new Halloween, though, is its handling of Laurie Strode. Curtis crushes it in her return to the role. This is a scary movie – and it is indeed scary – but it’s also a movie about trauma. It’s about a girl who was preyed upon and never taught how to process that experience. Even now, 40 years later, no one wants her to process it. Instead, her own family shuns her. So, intent on never being the victim again, she decides she’ll become a warrior.

Green does such a phenomenal job of putting Laurie in Michael’s shoes. The hunted becomes the hunter. We get a ton of visuals driving this point home that fans of the original movie will love. It’s empowering, especially in the era of #MeToo and #TimesUp, to see a story about someone facing their trauma and taking control of their life. And that’s not to say the movie is at all political or preachy, because it isn’t. This message is just effortlessly woven into the narrative, and it works.

Halloween brings back the spirit of late 70s/early 80s horror in a way that fans will love. David Gordon Green proves that, even in 2018, we can still be scared by just a man in a mask with a knife.

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Ryan Coogler Returning To Write & Direct BLACK PANTHER Sequel

By

Jackson Hayes

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October 16, 2018

The architect behind Marvel’s Wakanda isn’t going anywhere. According to The Hollywood Reporter, Ryan Coogler is returning to write and direct the sequel to Black Panther.

The talented director will reportedly start work on the script next year, with an eye to begin production in late 2019 or early 2020. That would mean that Black Panther 2 will likely hit theaters in 2021. Marvel Studios has yet to announce their Phase 4 slate, so it’s unclear what order their in-development films will release.

We can now add Black Panther 2 to the growing list of MCU movies in various stages of production. The rest include Spider-Man: Far From Home, The Eternals, Black Widow, and Doctor Strange 2. The one Phase 4 outlier remains Guardians of the Galaxy Vol. 3, which is still in a delay following the firing of James Gunn.

Some may be asking themselves, how will there be a Black Panther 2 if T’Challa is dead? At the conclusion of Avengers: Infinity War, half of Earth’s Mightiest Heroes met their end, that included Chadwick Boseman’s titular hero. We’ll have to wait for the events of Avengers 4 to take place to understand how the King of Wakanda finds his way back to the land of the living.

Are you excited for Ryan Coolger to write and direct a Black Panther sequel? Let us know in the comments below!

After the death of his father, T’Challa returns home to the African nation of Wakanda to take his rightful place as king. When a powerful enemy suddenly reappears, T’Challa’s mettle as king — and as Black Panther — gets tested when he’s drawn into a conflict that puts the fate of Wakanda and the entire world at risk. Faced with treachery and danger, the young king must rally his allies and release the full power of Black Panther to defeat his foes and secure the safety of his people.

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Review: CHILLING ADVENTURES OF SABRINA • A Great Show With No Moral Compass

By

Matthew Sardo

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The Chilling Adventures of Sabrina hits Netflix on October 26, just in time for your Halloween binge.

Based on the Archie comic, “as her 16th birthday nears, Sabrina must choose between the witch world of her family and the human world of her friends.”

Creator and writer Roberto Aguirre-Sacasa puts together a great cast set in the perfect universe. The opening of the show is ripped directly from the comics but is dark enough to prepare you for something new.

Review: CHILLING ADVENTURES OF SABRINA • Great Show With No Moral Compass — CHILLING ADVENTURES OF SABRINA

Chilling Adventures of Sabrina is the American version of Harry Potter with Hermione Granger as the lead. 18-year-old Kiernan Shipka is perfect as Sabrina, with the right amount of moxie combined with the awkwardness of a teenager. Lucy Davis and Miranda Otto are an excellent Yin and Yang as Sabrina’s aunts Zelda and Hilda, with cousin Ambrose as the wildcard of the series.

As Sabrina is only a half witch, the bullies are coming for her on all sides. Chilling Adventures is set for today’s social environment with a powerful female lead challenging the social norms. With the show set in the 60s, it becomes effortless to have conversations about race, sexual orientation, and a woman’s place in the world. Aguirre-Sacasa deserves credit for creating a universe where these debates can evolve. But all that goodwill and female empowerment gets thrown out the window by one scene in the first episode.

## SCENE ##
As Sabrina gets closer to her 16th birthday, she becomes conflicted as to what path to choose. This conflicted state results in nightmares and visions. It also doesn’t help that a group of teenage witches put a curse on her as well. Hilda instructs her to take a bath to wash the curse away. During her bath, Sabrina has a vision and gets out of the bathtub naked.
## END SCENE ##

The way director Lee Toland Krieger shot the scene; you see the side of Shipka’s breast. I was immediately taken aback because in the show Sabrina is 15-years-old, and Krieger, along with Aguirre-Sacasa, should not be sexualizing a 15-year-old. With #MeToo and everything else that has been going on in Hollywood and the rest of the world, how did this scene make it into the final cut? It is not needed. There was enough tension built by the other elements of the scene (the sound, the music, lighting, and situation). The scene in question is so brief that if it were cut it would not change the narrative. But you do know it’s there when you see it, as Krieger frames up the shot.

Everything Aguirre-Sacasa is trying to accomplish gets forgotten with a two-second shot, and all I can ask is why?

There are more positive aspects to the show that we could talk about, but it is more important to focus on this one scene and how it changed the dynamic of the series. Krieger and Aguirre-Sacasa strip Sabrin and Shipka of their power with a two-second clip. Their disrespect to the character and actor is what hurts the most because the Chilling Adventures of Sabrina now becomes fake girl-power.

Do you plan on watching the Chilling Adventures of Sabrina? Comment below with your thoughts.

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‘ARROW’ S7 Ep. 1 Review: “Inmate 4587”

By

Jon Barr - TV Editor

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ARROW comes back with an episode full of mysteries. The show heralds in a new season with Oliver behind bars, Team Arrow split up, and the return of dreaded flashbacks. “Inmate 4587” is a good entry point into the season, but if it wants to keep fans invested, it had better provide a couple answers real soon.

Oliver being in prison is a relatively interesting development. However, to the hardcore DC on CW fans, the plot line of a hero behind bars is nothing new. This is a storyline we’ve seen before – with Barry Allen last year, and John Diggle a few years back. The series is at a bit of a disadvantage, trying to pull new stories for its seventh year. What will make this storyline succeed or fail is if it can resolve in a new way. In the meantime, Oliver’s general prison problems aren’t the most interesting, but make a solid entry point for the season.

Emily Bett Rickards and Stephen Amell, CW’s ARROW

The sidekick storylines aren’t quite as interesting. Felicity has a semi-interesting storyline protecting William, but her coffee shop suitor isn’t interesting. ARROW staples like Diggle, Laurel, and even Curtis are barely in the episode. Thankfully, the conflict between Rene and Dinah provides a much-needed storyline. Their debate about whether a new Green Arrow is good works for both the episode, and the season at large. The general vigilante debate isn’t new, but how it might affect Oliver makes it important. If only all Oliver’s side characters could shine in Oliver’s absence.

What’s annoying is the role Diaz plays in this episode. The semi big-bad of last season has returned to torment the Queens for another season. How he magically appears at Felicity’s safe house, and whether Oliver’s dreams are actually premonitions, is nearly impossible to say. Diaz never flourished as an ARROW villain because he was essentially Cayden James’ replacement. If this season doesn’t center around him in some way, his return will be little more than a poorly-planned move.

Things are further complicated with the latest Green Arrow… and the fact he may be William? The flashbacks (or flash-forwards?) make it seem like the latest Arrow is an older William. In “Inmate 4587,” the older William ventures to Lian Yu, where he finds Old Man Roy Harper. This twist is confusing, to be sure, but also makes it unclear what to expect. ARROW has usually differentiated itself from other CW shows by being the most grounded, staying away from all the time-travel hootenanny (unlike FLASH). This new Lost Season Four approach makes it unclear what we can expect from the new season.

[embedyt] https://www.youtube.com/watch?v=DVxaVnFwXUc[/embedyt]

The question of how much ARROW does or doesn’t revolve around time-travel will be important. That, along with Oliver’s prison time and Diaz’s role could make or break the season. These unknown elements are what bring the score of “Inmate 4587” down. There are just a few too many unknown elements to make this exciting. Especially considering the weak sixth season, one would hope s7 could flip the script more. But is time travel the answer, or going too far? We’ll have to keep watching to know for sure. ARROW keeps us invested… for now.

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The Story

The Artwork

Final Thoughts

***SPOILERS LIE AHEAD***

More About First Man

What Is Kieran’s Movie Space?

***SPOILERS AHEAD***

Writing

Art

Conclusion

SPOILERS LIE AHEAD

SPOILERS AHEAD