INTERVIEW: Rafaella Rabinovich On Details, Mood, And ‘To All The Boys I’ve Loved Before’

September 6, 2018

Award-winning costume designer Rafaella Rabinovich is an art school kid who went from photographer to set designer to costume designer with a filmography that includes Project MC2, Final Vision, and the Netflix film To All The Boys I’ve Loved Before.

Monkeys Fighting Robots spoke with Rafaella who snuck out to from her current gig to a Starbucks for the phone call “I’m working on the fourth season of The Detour. Every season is shot in a different province, so this season they’re shooting in Vancouver.”

What’s coming in the fourth season? “I obviously can’t tell you anything about the fourth season, but it’s going to be dope. The people involved in it are incredibly creative.”

Flashback …

Rafaella’s road to working for productions from the likes of Netflix began at a young age “I went to an art high school. When I was twelve years old, my dad gave me this amazing camera. I started taking pictures of the productions the school would put up. I realized that what I really wanted to do was frame a stage.

However, just like a good movie, there was a twist that changed the course of things “When I got to university the only way I could learn set design was if I also learned costume design. I love set designing, but I realized costume design is where my heart is at.”

To All The Boys

After stints working on pop culture darlings like Supergirl, Lucifer, and Once Upon A Time “I got involved with [To All The Boys I’ve Loved Before] when the script was fairly ready. I got involved about a month and a half before we started shooting. I just got off a show called MC2 …” Of note, Rafaella received a Daytime Emmy Nomination for her work on the Netflix show “I read the script. I knew the book; I’d read it a year earlier …”

The process began “I made a mood board. I got on the phone with Susan Johnson, the director. I got on the phone with [Producer] Robyn Marshall. We had a month or so of prep time. It was go-go-go.”

In the end “It was a great group that came together to make it all happen. To All, The Boys is something that anyone can relate to. It touches on stereotypes we all know from high school but not in a cynical way.”

Versatility

Productions are typically bursts of furious activity “It all depends on the show. Certain shows I’ve only had two weeks. Every dance is different.”

From period piece to military drama, does Rafaella have a favorite genre? “I’ve been privileged to have a diverse resume … done period costuming, kids … contemporaries. I have to say that what kind connects all the great stories are great characters.”

How about TV vs. Film? “Your brain needs to process things differently. It’s more technical. The way things are shot is often different. But I love to go back and forth between a feature [film] project and a television project.”

Digging Deeper

Who influences Rafaella’s work, both past, and present? “Eduardo Castro is certainly one of them. I’ve had the privilege to work under his wing. He has a beautiful language. Ruth Carter, I’ve looked up to her for a long time. Sandy Powell I think does beautiful work. A lot of theatre designers; Adrian Greenberg is one of my favorites from back in the days. Patricia Field. Many, many people.” Indeed, we chatted about costume designers for the next five minutes, including shout-outs to the work of Michele Clapton on Game of Thrones.

What’s the relation between a specific fabric and a certain mood? “That’s a really beautiful question. I think in the right constellation of fabric, let’s take an example, a wedding dress can be made from a variety of different materials that can all give you a feeling of being loved and romance. Certain fabrics I might not look at automatically for certain things, but I wouldn’t exclude them. Fabric and the way we look at it as it’s presented in a film can instantly say so much about a character and story.”

The great films and TV stories pay attention to details “To All The Boys I’ve Loved Before has the attention to detail that creates mood.”

Thanks to Rafaella Rabinovich and Impact24 PR
for making this interview possible.

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Rebecca Ferguson In Talks To Join Denis Villeneuve’s ‘DUNE’ Remake

Kieran McLean

September 6, 2018

After her scene-stealing performance in Mission: Impossible – Fallout, Rebecca Ferguson has her eyes set on one of the most exciting projects currently in development. According to The Hollywood Reporter, Ferguson is in talks to take a lead role in Denis Villeneuve’s next project, the remake of Dune.

If she lands the role, Ferguson will join Call Me By Your Name star Timothee Chalamet, who is already on board to play the protagonist, Paul Atreides. Based on the popular novel by Frank Herbert, Dune is looking to start production in 2019. Villeneuve will also produce the project, along with Mary Parent and Cale Boyter.

Ferguson is most known for her role as Ilsa Faust in the Mission: Impossible series, although she has had sizeable roles in films such as The Greatest Showman and Life. The actress recently joined the cast of the new Men In Black movie and will star in the adaptation of Stephen King’s Doctor Sleep later this year.

Source: THR

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ASTONISHING X-MEN #15: What Would You Do For A Summers Brother?

Brandon J. Griffin

Now that Alex Summers has his team of not-X-Men together, they get caught in the middle of a Reavers war with the O.N.E. organization. Astonishing X-Men continues Havok’s haphazard journey to becoming a hero once again.

SPOILERS LIE AHEAD

Matthew Rosenberg’s voice for Alex Summers gives him a human edge. He’s a loose cannon who doesn’t think things through, he’s “more of a gut guy than a brains guy.” Havok is also someone who knows how important his brother Scott is to the group of people he so desperately wants to win over.

Cyclops being dead and Havok having recently been a villain gives Rosenberg plenty to play with. It makes for some memorable character interactions. In Astonishing X-Men #15 it comes in the form of Warpath sitting at The Bar With No Name, explaining what he learned under Scott Summers’ leadership. It’s a really great moment between two characters every X-Fan enjoys seeing more of.

The story in this issue is also a testament to this new characterization of Havok. As soon as he finally gets his team together (and just barely at that), they’re immediately split up because of a lie he told to keep them out of harm’s way on his behalf–which puts them in harm’s way on his behalf.

I could see old school Havok fans having a bit of a tough time accepting a new direction for their favorite Summers brother, but would you prefer the scar-faced villain era we just got through? Probably not.

Similar to what Rosenberg is doing with Jamie Madrox on the brilliant Multiple Man series, he’s breathing new life into a character in order to bring them back to the forefront of the mutant landscape. His vision is more comedic and lighthearted than previous incarnations of both characters, but the transitions are smooth and entertaining.

This team is full of shake-ups and new directions, and it’s all the better for it. Colossus going through a very dark breakup, Banshee being resurrected but nobody is really sure what his deal is, Dazzler’s floundering music career, and Beast finding himself in a situation that’s way beneath his level of intellect. This is a great cast that gives the one-man-ResurreXion (Rosenberg) plenty to work with.

Matthew Rosenberg’s Astonishing X-Men is a comic that’s more in line with what Marvel was promising us with their ResurreXion initiative. It’s a colorful and fun return to form for a peripheral X-Men title. We’re dealing with a war between the Reavers (in all their ridiculous glory) and the mutant-hating O.N.E. that Havok is caught up in because of Bastion–what more could you want?

Pencils by Greg Land and Neil Edwards are great for the most part. There’s some miscommunication between writer and artist with a couple of faces that don’t match the dialogue very well. Land does great work up-close. The more you zoom the comic book panel lens out the more things start to get oddly proportioned, especially on bigger characters like Colossus and Beast.

Those nitpicks aside, there’s a lot of great face work in the conversational scenes. Towards the end of the issue, there is a handful of fantastic pages of Colossus in action. The shot of him initially emerging from the wreckage to begin fighting is glorious.

Inker Jay Leisten uses a lot of thick lines to clean up a lot of the dodgier panels. Dazzler has a few panels where she’s covered in a bit of shadow overkill. Colorist Frank D’Armata keeps the energy of the book vibrant and explosive. The color really brings a lot of the city at night to life. Letterer Clayton Cowles hammers the tone of the book home, especially with the villains.

A rag tag team of fan-favorite X-Men all down on their luck banding together to stick up for a troubled but charming Alex Summers. Matthew Rosenberg is a one-man-ResurreXion, he should’ve been given the mutants from the start of Marvel Legacy.

Astonishing X-Men is a great X-Book for X-Fans.

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Review: IRON FIST Season 2 ‘The City’s Not for Burning’

Matthew Sardo

The City’s Not for Burning – S02E02

Episode Two of Season Two of Marvel’s Iron Fist gives every fan of the character the money shot we so deserve. Danny Rand is wearing the Iron Fist mask in the battle versus Davos for the right to fight the dragon Shou-Lao. That sentence alone should give you goosebumps.

The battle is through flashbacks throughout the episode which gives ‘The City’s Not for Burning’ a quick pace as tension builds. The struggle to save Chinatown continues which is a million times more interesting than the boardroom drama of Season One. All the chess pieces are in play, and we are just waiting for the reveal.

Again, the cinematography is what shines so far in the season. The darker setting, whether at night or the use of a cloudy day give the series a better feel. It helps to suck the viewer into the episode.

The fault in the episode and possibly the season is the development or origin story of Mary Walker (Alice Eve). The show is having a hard time capturing her dissociative identity disorder. Mary has the potential to breakout star of season two, but through two episodes it’s slow going.

Overall, the arrow is still pointing up, and there is no need to stop binging now.

The Fury of Iron Fist – S02E01

Review: IRON FIST Season 2 'The Fury of Iron Fist' — Marvel’s Iron Fist

Marvel’s Iron Fist Season two hits Netflix Friday, and the first episode ‘The Fury of Iron Fist’ brings a refreshing new tone to the series as the drama moves from the boardroom to the streets of Chinatown.

‘The Fury of Iron Fist’ has excitement, with two major action sequences and a few quick spurts of hand to hand combat. The cinematography is what stood out most about the episode, with most of it filmed at night. There’s a gritty dampness to the scene selection, giving a feel of evil creeping into the city. The last few minutes of the episode had no dialogue and relied on the cinematography to convey the emotion, and it does. You will be compelled to watch the next episode.

The plot of the episode is straightforward and sets up the series well. The weight of the world is about to be dumped on Danny Rand, and it is up to the Iron Fist to dig himself out. Danny’s relationship with Collen evolves well to where you feel for the couple and want to see them succeed. As soon as you see Ward Meachum, you can’t stand him. It will be interesting to see what his story arc is for the season. Joy, on the other hand, is at the beginning of her origin story and the path she takes will be exciting to watch.

Finn Jones finally feels comfortable as Danny and the Iron Fist, and his surfer delivery fits the character. Jessica Henwick (Colleen) seems to have the most compelling on-screen presence, and Tom Pelphrey (Ward) has the ability to steal the show. The cast has grown in the acting craft since the first season.

The only issue is with Davos, it is hard to find him intimidating. The Steel Serpent needs to become pure evil and strike fear in the hearts of men. Sacha Dhawan is a good actor, but the size difference between Jones ruins all the tension. All the praise I gave the cinematography crew above, they need to work on finding a better angle when Davos and Danny are on screen together.

Overall, now that the show is past the origin the series will improve immensely. Season two can get to the good stuff like the Iron Fist battling it out, and the viewer can sit back and enjoy the binge.

After you binge watch the show come back and give us your thoughts in the comment section below.

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Before FAHRENHEIT 11/9 Let’s Revisit ROGER & ME

Matthew Simon

Let me tell you a personal story; my late grandfather used to own an Oldsmobile/John Deere dealership, it was one of the most successful in the Midwest for decades. When I was young, I always felt that if they had the Oldsmobile dealership; everything would be OK. That is until GM folded the division in 2004 and refused to give him another product line to sell, this caused the domino effect of John Deere pulling out of the dealership, as well. There’s a reason I’m telling you this story; because this kind of greed and lack of human compassion is shown on full display in today’s retro review; Michael Moore’s first film: Roger & Me.

Roger & Me, is the upbeat story of General Motors and its relationship with the city of Flint, Michigan; after GM closed its production plants in Flint, during the mid-80s, and the fiscal impact, the plants’ closure had on the town. The film also tackles what little concern GM had for a city, that had given so much to GM for 50 years.

Samuel Beckett Reference in Roger & Me review — One of the narrative elements is Moore’s efforts to meet Roger Smith.

The structure of the film itself is somewhat loose and relies on crosscutting multiple stories together into a hypnotic weave. We have a police deputy who makes his money evicting people; a wife of a laid-off auto worker who sells rabbits as either “pets or meat”, what happened to Flint itself, with the desperate marketing efforts to get themselves out of the fiscal hole, and finally, Moore’s attempts to interview the then CEO of GM, Roger Smith (The “Roger” in the title), and bring him to Flint to see the devastation the closing of the plant brought to the town, (it doesn’t work).

Let’s talk about what works; mainly, the tone. The film splits its tone, into three distinctive styles, that mesh surprisingly well together. The first is the depression and misery of the working class, as people are laid off en masse; the quirky ways some of these people are trying to survive (the woman with “pets or meat”, a former feminist DJ, who was now [Now, in the film’s timeline] selling Amway, and the previously mentioned police deputy), seems inspired by the early work of Errol Morris (see: Gates of Heaven & Vernon, Florida). The second style is one I call; “The ironic bent,” in which Moore used comedic and dramatic irony; in quick succession. The greatest example of this comes relatively late in the film. Flint was going to be featured on ABC’s Nightline, with live shots. However the news van was stolen, the culprit was eventually found; he was a laid-off auto worker. If my description doesn’t make sense, let me explain: Moore had the setup (Nightline), then the first payoff with comedic irony (The van being stolen), and the final payoff with the dramatic irony (the thief being a former auto worker); in the span of one minute, Moore made us laugh, then brought the film back to pathos.

Many of the interviews with normal Flint citizens have the quality of an Errol Morris documentary.

The third and final part, was Moore’s personal story, to bring Smith to Flint. Moore has been criticized for (still) playing the blue-collar joe, even though he’s made two of the most successful documentaries of all time (Bowling for Columbine, and Fahrenheit 9/11), and some people will say that disingenuous. I would tend to agree. However I don’t know his financial situation, so he might just be investing his earnings into his next film, I don’t know. Here, however, it’s genuine, and he doesn’t have enough money to appear disingenuous (at least to some people). Moore talks about his family’s connection that it seemed everyone in his family worked for GM, in Flint. It’s not taking up a cause, just because. He’s taking up the cause, because it’s personal. When I realized that, any thought of him being disingenuous (in this film, anyway) died off, quickly.

Film, by its intent, is universal, the ability to relate to what’s on the screen; as such, while Roger & Me is about GM and Flint, MI, it’s also about every town whose economy fell apart due to the avarice of a corporation. For Wilmington, OH: it was DHL; for many sleepy towns in Pennsylvania, it was the steel industry (and companies like US Steel), and in other small towns; it will be the fracking industry. It’s the old “second verse, same as the first” adage.

In one of the more ridiculous ironies, the city decides to build an indoor amusement park…that closed in less than a year.

This universality brings us back to the beginning of this retro review; the auto dealership, that I mentioned. You’ll find very little trace of Willowdell Sales online, Versailles, OH doesn’t have an auto dealer anymore. Roger & Me, is the definitive statement of something I have always believed: “Don’t put your faith in a corporation, because they’ll sell it to the almighty dollar.”

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Review VENOM: FIRST HOST #2 – The Game Is Afoot

Matthew Sardo

Venom: First Host #2 (of 5) is out this week, and the weekly series rebounded strongly after a sluggish start.

Mike Costa expanded the story in issue two and brought compassion and a deeper level to the plot. The symbiote is an interesting creature, and it’s always fascinating finding out new information about its origin and watching how it interacts with other people. I didn’t think a crying Venom would take me back, but it did. The plot twist changes expectations and will keep you guessing till next Wednesday. Costa packs a ton of story in one issue and has you jonesing for part three by the end.

I believe it was during Erik Larson’s run on Amazing Spider-Man where the Venom tongue fetish became a thing, but now, it just seems juvenile. That was a gripe with the first issue; it didn’t seem as though Mark Bagley’s art had evolved. With the help of Ron Lim on part two, Venom looks a ton better. As mentioned above, compassion is felt in the symbiote, Eddie Brock, and combined as Venom. This would not be the case if a slimy tongue were getting in the way. The evil smile of Venom is always more compelling than the crazy tongue. Bagley and Lim exercise restraint, and it pays off.

What will get you excited for the next three issues is the potential of what Bagley and Lim might create. Tel-Kar will bond with a symbiote and create a new suit, and Venom’s off-spring will bond with someone creating a new character. The visuals will be off the charts, and the potential impact on the Marvel Comics Universe could be massive. If that doesn’t get your blood pumping, my friend, you are dead inside.

Andrew Hennesy and Scott Hanna’s inks keep the issue honest and give it a little more detail than the previous issue. Dono Sánchez-Almara is using a color palette ripped right out of the Marvel Cinematic Universe, and Clayton Cowles handles the job of separating the three voices of the symbiote, Eddie, and Venom very well.

Venom: First Host #2 elevated the series and built a massive amount of excitement going into next week.

Do you have Venom: First Host on your pull list? What did you think of the first two issues, comment below with your thoughts.

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CAPTAIN AMERICA #3: Steve’s Emotional Weight On Your Shoulders

Brandon J. Griffin

Ta-Nehisi Coates and Leinil Francis Yu take Steve Rogers into Wakanda in Captain America #3. Black Panther joins the global hunt for whoever is behind the Duke army.

SPOILERS LIE AHEAD

Captain America #3 gives us Steve doing some undercover work to see how this Hydra-America has affected some of the more forgotten regions of the country. Having Cap go through these moments of doubt and confusion are more and more compelling each issue.

With a lot of us feeling a lot of tension and anger for things out of our control (no matter what your politics may be), to have Captain America go through something similar right now is powerful. Cap is always the “dad” of our favorite heroes, the boy scout who always knows the best course of action at any given moment. Coates is humanizing him in a way that hasn’t been done in a long time.

Ta-Nehisi Coates giving Steve a wider scope and perspective is intriguing. It’s a useful way to weaponize a way of thinking in today’s world–one where we look at things from both sides. Of all the comic book responses to the current political climate, this may be the sharpest so far.

Honestly, despite what the “Comicsgate” community will tell you, there’s no better character than Captain America for this job. To be able to sift through a world of weaponized opinions and digital venom and be able to come out the other side having found something to learn from it–that’s Steve Rogers.

It’s also not over-bearing or what this comic book even focuses on, Coates does a great balancing act and doesn’t waste his opportunity by playing it safe.

Captain America #3 is the most similar to Coates’ Black Panther so far. There’s a good amount of action in the book but most of the fireworks happen in the quieter moments. The message and strength of the book comes across between the panels almost.

Even the main conflict with the army of Duke soldiers is less about the punching scenes and more about what it means to Steve. The fight that’s most compelling is the one Rogers is having with himself in his head.

Steve doesn’t come right out and say what he’s feeling every page, the reader is given his situation and told to find where their own hearts lie. There’s a lot of weight wearing Rogers down and he’s struggling to sort it out. The way this is presented, without needing to spell everything out, is some really solid comic book crafting.

The story is book-ended by some Sharon Carter action. She flips the script on some would-be abductors in the opening before the cliffhanger ending in which we see a likely source for de-aging Agent 13 back to her younger self.

We’re seeing Leinil Francis Yu get more comfortable with Captain America each issue. What he lacks in classic shield-throwing Cap action, he more than makes up for in the acting of his characters. I found myself obsessed with the eyes of the driver that Sharon knocks out in the opening bit.

Inker Gerry Alanguilan provides heavy inks, adding to the weight of this issue. It’s not as dark as Secret Empire, but definitely harkens back to the dark cloud atmosphere that made that event pack a harder punch.

Colorist Sonny Gho does a wonderful job conserving the use of yellow close to Duke’s blond hair, saving it for when Cap is facing these enemies. This helps keep all the red, white and blue on both Cap and the various Duke faces from getting washed together during the action. There’s a certain tint of blue to most of this issue as well that’s just satisfying on a Captain America book.

Comic veteran Joe Caramagna does a fine job with lettering duties, as per usual. The shade of blue behind Cap’s dialogue doesn’t clash with any of the various other blues on display. As always, the cover art by Alex Ross is superb. This may be one of the more creative Captain America designs by Grandmaster Ross.

There’s a lot of subtlety to appreciate in Captain America #3. Ta-Nehisi Coates isn’t wasting the opportunity to do something special and different with the character. This isn’t going to be an explosive action extravaganza every issue, but it won’t be a comic you forget too easily. Coates and Yu will make you think about what Steve is going through long after you finish the final page.

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Review: Al Ewing’s Twist In IMMORTAL HULK #5 Will Stun Fans

Dispatchdcu

Bruce Banner battles a possessed Sasquatch in this week’s Immortal Hulk #5 as the incredible Al Ewing shocks readers with a surprise wrinkle. Let’s crack this one open!

WRITTEN BY: Al Ewing

PENCILS BY: Joe Bennett

INKS: Ruy Jose

COLORS: Paul Mounts

LETTERS: Cory Petit

WARNING SPOILERS AHEAD!!!

IMMORTAL HULK #5 SPOILERS TOO!

To see what happened last issue, click HERE

Summary

Banner hulks out to stop a raging Sasquatch that happens to be possessed by Bruce’s Dad, Brian Banner. After a trip down memory lane and a monstrous battle, the Hulk manages to pull it together and soak up the Gamma Radiation from Sasquatch turning him back into Walter Langkowski leaving him powerless and unpossessed by his Dad. As the issue wraps up, readers see a reflection from the Hulk that appears to be Bruce’s Dad looking back at him. When the Hulk soaked up the Gamma Radiation, did he also somehow get possessed by his father? We’ll have to wait until next issue to find out.

Ewing’s Thoroughness

Ewing has been fantastically delivering theme after theme each month with his one shot style that knits together beautifully into this grand mosaic that finally delivers in this issue of Immortal Hulk. Not only does Ewing weave together each issue, but he also begins every narrative with a thought-provoking quote that summarizes the plot, the story, and direction of his run. No one can doubt the time, and research Ewing has spent to make Immortal Hulk one of the best comics on the shelves today.

The Twist

Talk about a twist! This reviewer was totally blown away by Ewing’s reveal of Banner’s Dad being the “entity” possessing Sasquatch. Plus, the emotions and fear that Ewing shows the Hulk have during the fight were so impactful. No one scares the Hulk… except possibly the guy who really $&@! him up! Granted, this isn’t the first time a writer has used Brian Banner in a story about the Hulk.

He’s possessed other characters before and has showed up as Devil Hulk or even Guilt Hulk, however, the main idea is what Bruce’s Dad does to him psychologically. Technically, part of the reason the Hulk exists is due to the trauma of Brian Banner. Fans should be excited to see this more grounded Hulk that captures the history of the character while offering a “fresh” new direction for longtime readers as well as those just jumping on the series.

The Art

Joe Bennett’s pencils speak for themselves. With some masterful layouts by Cory Petit, readers can scan through each panel and figure out exactly what’s happening in the story without much dialogue. Furthermore, the almost half-page splashes are strategically placed to amplify the enormity of the hulking creatures fighting while Ruy Jose’s inks capture a tight, clean look which aids in making each panel come to life. Also, Paul Mounts’ colors bring a subtle, natural tone to the issue that is soft and welcoming while tremendously adding to Bennett’s spectacular detail.

Should you buy this issue and/ or add it to your pull list?

Ewing and his art team work so well together. Bennett’s pencils, mixed with Jose’s inks, and Mounts colors, amalgamate into a perfect depiction of a true horror comic with hints of suspense, action, and affectivity. Also, the underlining theme of “the mirror has two faces” is profound and fits our lonely hero so well. Banner struggles with this concept daily and Ewing is attempting to hit this formidable character with one of the only things that could potentially stop him.

Physically, Hulk is a force of nature, and only a few could conceivably break him. Theoretically, Banner has already been mentally broken by his father. Therefore, Banner so desperately wants to be good but is cursed by the Green Goliath. Plus, as Bruce looks into the mirror, he sees a monster staring back at him. However, everyone else doesn’t see a monster. Some people like Ms. McGee and Walter Langkowski see the Hulk as something beautiful, powerful, and god-like. However, Banner only sees the pain, the scourge, and misfortune that follows in this behemoths wake. Ewing’s point is that in a mirror, everyone sees something different including heroes.

So, who’s right? Well, this is the main theme that Ewing is driving home with the issue and he’s doing a masterful job with it so far. Pick this issue up and add it to your pull list moving forward. Hopefully, you find this comic as ponderous and heartfelt as this reviewer. Plus, fans get to witness some of the most fantastic action scenes drawn by one of the best creative teams in comics today. What is the Green Room? Is Brian Banner now inside Bruce? Is it indeed Banner’s Dad possessing beings from another realm? Readers will have to wait until next issue to find out. So, what are you waiting for? Get this issue now!

What did you guys think of IMMORTAL HULK #5? Comment below or hit me up on Twitter @dispatchdcu. If you would like to read more of my reviews, click HERE!

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Review: It’s Simon Baz v Cyborg Superman in GREEN LANTERNS #54

Jose "Jody" Cardona

The villain of this arc of Green Lanterns has been unleashed!

The last issue of Green Lanterns revealed the truth behind the corrupted rings. While the Corps went to war with an intergalactic army called The Ravagers, their rings began to act against them. This plot was pushed to the side after Hal Jordan came to help the Green Lanterns in the war. Despite this shift, however, that mystery had been brewing under the surface. During the fight against the Ravagers, Simon is sent to Earth when there is a distress signal from the Man of Steel. As he heads to the Fortress of Solitude, readers learn that it was Cyborg Superman that corrupted the rings and called Simon. Will the rookie Lantern learn the truth before he makes a grave error?

**Some Spoilers Below**

Story:

After the Ravagers retreat, the Green Lanterns of Earth move Pelops’ race to a new planet. The battle killed around 90 percent of the population, as well as deal a crippling blow to Lantern morale. As the relocation concludes, Guy Gardner speaks to the other Green Lanterns about Simon being a traitor. Jessica defends her partner, but the rest of the Lanterns believe it’s worth investigating. Meanwhile, on Earth, Simon breaks into the Fortress and inadvertently releases Cyborg Superman. The villain proceeds to beat Simon down as he explains how he executed his plan.

While I liked the issue as a whole, there were a few missteps. The biggest one for me is how quickly the Green Lanterns put the blame on Simon. I understand for the sake of story; pointing fingers will always be a part of stories like this. The problem is we had this plot point as a full story right before Dan Jurgens took over as the writer. It was a short, two-issue arc, but it still feels like this arc is rehashing that plotline, with Simon as the suspect. Speaking of, the other big problem is the cliffhanger ending involving him. It removes a piece of character development that I liked.

There are positives in this book, but the biggest is Cyborg Superman. His beat down with Simon is brutal, and his explanation behind his corruption of the rings is brilliant. Able to manipulate the technology within the rings, Cyborg Superman was able to move the entire corps like chess pieces. The actual reason he is doing all of this takes the cake, and while I won’t spoil it here, it will make the coming issues much more fun.

Art:

Marco Santucci continues to kill it with his illustrations. The Green Lanterns look great, and their constructs are imaginative. Santucci is able to grasp the large-scale sci-fi feel the Lanterns need to have. Cyborg Superman also looks phenomenal, with wonderful flashback panels littered through to explain his plan. With the fantastic colors of Hi-Fi complimenting Santucci’s work, we have one beautiful comic.

Conclusion:

This comic does have a few glaring issues with the story, but I can’t say I didn’t enjoy it. While the beginning with the Green Lanterns and the cliffhanger ending got under my skin, the middle with Simon against Cyborg Superman is fantastic. It also looks amazing thanks to the art team once again knocking it out of the park. With the villain now loose in the galaxy, I can’t wait to see where the story goes next.

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Exclusive Footage Teased In SOLO: A STAR WARS STORY Bonus Trailer

Daniel Forster

September 5, 2018

With just under two weeks until the digital release of Solo: A Star Wars Story, a new trailer dropped on Star Wars Movies Facebook page. Filled with behind-the-scenes shots and conversations with the cast, the bonus trailer features plenty of goodies. Solo: A Star Wars Story will be available for purchase on September 14^th, and the Blu-Ray on September 25^th.

SOLO Bonus Trailer

Experience the adventures of Han Solo and Chewbacca like never before with exclusive bonus footage, deleted scenes, and more. Watch SOLO: A Star Wars Story instantly: http://bit.ly/SOLOMovie

Posted by Star Wars Movies on Tuesday, September 4, 2018

Trailer via Star Wars Movies Facebook page

Bonus Trailer Features

The bonus trailer reveals technology used to make Star Wars movies, not seen before in behind-the-scenes footage. Fans get a sneak peek at the Millennium Falcon going launching into hyperspace, Alden Ehrenreich in the cockpit of a Tie fighter, and how they pulled off the train heist scene. Additional teases include a roundtable conversation with the cast and deleted scenes.

Domestically, Solo: A Star Wars Story didn’t perform up to expectations. Despite this, however, Solo is still a good Star Wars movie. Donald Glover’s performance of Lando Calrissian exceeded fans expectations. And the film explores much of Han and Chewbacca’s origin story. Emilia Clarke shines as Qi’ra while the bonus footage will likely explore Enfys Nest’s (Erin Kellyman) in further detail. Much like the novelization of Solo: A Star Wars Story did.

Additional footage includes a deeper peek at the making of Chewie (Joonas Suotamo), who’s officially Chewbacca now. L3-37 (Phoebe Waller-Bridge) reveals how the droid came to be and there’s a detailed breakdown of the Kessel Run. The digital and Blu-ray contains a total of eight deleted scenes and 9 special features. Even Ron Howard had a few things to say in the roundtable.

Behind-the-scenes look at Alden Ehrenreich in Solo: A Star Wars Story — Image Via Star Wars Movies and SWNN

Star Wars fans can download Solo: A Star Wars Story on September 14^th. Those who are waiting for the 4K Ultra HD Blu-ray, Blu-ray, and DVD will be able to purchase it September 25^th.

Star Wars Resistance will air this October on the Disney Channel, and Star Wars: The Clone Wars will air on Disney’s Streaming Service in late 2019.

Are you excited for the home release of Solo: A Star Wars Story? Let us know in the comments below.

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Flashback …

To All The Boys

Versatility

Digging Deeper

***SPOILERS LIE AHEAD***

The City’s Not for Burning – S02E02

The Fury of Iron Fist – S02E01

***SPOILERS LIE AHEAD***

WRITTEN BY: Al Ewing

PENCILS BY: Joe Bennett

INKS: Ruy Jose

COLORS: Paul Mounts

LETTERS: Cory Petit

WARNING SPOILERS AHEAD!!!

IMMORTAL HULK #5 SPOILERS TOO!

Summary

Ewing’s Thoroughness

The Twist

The Art

Should you buy this issue and/ or add it to your pull list?

The villain of this arc of Green Lanterns has been unleashed!

Story:

Art:

Conclusion:

Bonus Trailer Features

SPOILERS LIE AHEAD

SPOILERS LIE AHEAD