In an exclusive interview with ComicBook.com, Spawn creator Todd Mcfarlane revealed the upcoming movie based on the comic has now begun to cast two pivotal roles. He also offered a very intriguing comparison for the tone of the film.
The very vocal creator said:
We just officially the other day had our first casting meeting…There’s two big roles in the script. There’s obviously sort of Spawn himself, although in a weird way it’s not the biggest role, and then there’s the cop. The cop is this character Twitch who’s been there since issue #1. Twitch is the role in this one, and I sort of refer to him as my sheriff Brody, who is the sheriff in the Jaws movie. Although it was called Jaws, Jaws didn’t really talk a lot in his movie, right? He just kind of showed up at the opportune time to make the movie worthwhile
You can head over to ComicBook.com to check out more information.
What do you guys think? Are You excited? This take does sound interesting, as Twitch was one of the more unique and fan favorite characters that emerged from the title. The character starred in a spin-off series, Sam and Twitch, which had a lengthy run written by Brian Michael Bendis.
Spawn movie is coming from Blumhouse, makers of The Purge, Paranormal Activity, and The Belko Experiment. No official release date has yet been announced.
The character Damage may be better remembered for his time on the Justice Society of America, but a new series by Tony S. Daniel and Robert Venditti aims to reintroduce the character in a completely new way. Prior knowledge of this character is not required or necessary to read this new series. In fact, recalling the previous character may actually make you very confused.
Ethan Avery is a soldier who has been turned into a monster and goes on a rampage. The issue is the play by play of said rampage.
Writing
Writers Tony S. Daniel and Robert Venditti want to make sure you are curious about what is going on in this new series. This is accomplished by offering very little details on the overall story. The plot is a little on the barren side, as it really is just watching Ethan, now the enhanced monster soldier Damage, as he cuts a path of destruction through a town as the members of his former team try and stop him. Most of the backstory and additional information comes from characters as they widely fire away at the large hulking mass of muscle. There are just enough hints of a larger plot to keep the reader interested, but a bit more detail work would have been appreciated.
Artwork
The art team pulled out all the stops and helped to make this comic worth the purchase price. Danny Miki on inks offers a very catching look for the new Damage. The character design has a look which screams of a genetically altered soldier from the DC Universe with a hint of Solomon Grundy to the mix.
Tomeu Morey on colors allows for an eye-catching effect works and adds to the destructive power of Damage.
Tom Napolitano on lettering helps to add to the intensity of the comic. The sound effects and character dialogues help showcase the rush which is the selling point of the entire issue.
Conclusion
Though light on story, the issue showcases some spectacular art and offers a set up for some interesting guests to come in the next issue. It may not be the Damage the few fans were hoping for to return, but maybe it’s for the better.
We lost the incredibly talented Bruce Lee in his prime, back in 1973, four years before Star Wars: Episode IV – A New Hope came out. For those that have ever wondered how his skills would translate to that of a Jedi, look no further.
This past week, Patrick Nan, via his YouTube Channel, released an edit from one of Lee’s films, Fist of Fury, in which he and his foe both sported lightsabers.
Those lightsaber nunchucks though, wow! This bonkers video got us thinking about some other lightsaber recreations, like fan renditions from scenes from Game of Thrones and Maleficent, as well as other creations. See below.
Yep, Nintendo just made the dreams of every child that has ever wanted to turn a cardboard box into a spaceship or fort, a reality, with the reveal of Nintendo Labo.
Fresh off a year in which it set an all-time sales record, the gaming giant looks to be showing no signs of slowing down. As you will see from the video below, you can now turn cardboard into a variety of different toys, in conjunction with your Switch and joycons.
The Nintendo Labo will be released on April 20, 2018, with the option of purchasing a ‘Variety Kit’, which will retail for $69.99, or a ‘Robot Kit’, for $79.99.
Nintendo will host two Labo events to test it for the lucky folks that live in either New York or San Francisco. More information HERE.
Well, that Super Sons crossover must have been rough for the Man of Steel. Superman had to fight a maniac, learn his son, Jon, is going to blow up Metropolis, and then work together with a Super-family member he does not recognize to save his son. I know he’s a superhero and alternate timelines are common, but I’m pretty sure any father would freak out over what he had learned. You’d expect such a heavy revelation earns an epilogue for the Man of Steel… Instead, we have a one-off story. A shame considering the outcome, one can only hope a one-off story is fantastic enough to fill the gap.
**Some Spoilers Below**
Story:
After fighting the villainous Demolition Team outside a children’s hospital, Superman’s attention is caught by the cancer ward. Being the all-around good guy he is, he asks the hospital if he could take the kids on a trip. When he gets the go-ahead, Superman, with the help of the Justice League, take the children on the best field trip ever.
Despite my disappointment for lack of an epilogue, I really enjoyed this issue. This is a lighthearted one-off story to show that Superman comics aren’t always mass destruction. One of his greatest characteristics of the Man of Steel is his compassion and the amount of work he goes to for these kids really show it off. This field trip that he puts on is one I think we’d all want as kids. Even though the field trip is clearly impossible for the real world, the people are portrayed real enough to be drawn in.
Art:
The art goes well with the issue. I’d say the art team found the perfect middle ground for a more lighthearted story. Most comics nowadays are drawn in such a big and colorful style, it’s almost screaming for readers to take notice. While it would work for a high flying action comic, it would feel weird in one more subtle.
That’s where the beauty of this art comes in. Barry Kitson’s pencil work on the characters is subdued. Instead of these big cartoonish expressions, the book has them smaller, almost realistic. Along with the vibrant colors that are a staple for Superman comics, this book is a delight to look at.
Conclusion:
Even though there are many fantastic dark arcs in the Superman comics as of late, it’s nice to have a pleasant one like this. The story is lighthearted and will remind you why Superman is one of the greatest heroes. The art stays grounded and fits the story masterfully. This is a story that everyone needs to read. It will give you a smile that lasts all day.
In epic fashion, Yi Soon Shin tells the tale of a Korean Naval Admiral’s fight to save his people against invading Japanese forces. The sound of a historical comic book might not appeal to many. But Yi Soon Shin’s sprawling chapters unfold with an intriguing story about the people behind the history. And also, it’s a comic book, and therefore not a history lesson, so it’s a fun action story to boot.
Writing: Onrie Kompan
Art: Giovanni Timpano
Colors: Adriana De Los Santos
Letters: Joel Saavedra
Co-Writer/Editor: David Anthony Kraft
“A war is coming and many are going to die.” – Admiral Yi
WRITING
Onrie Kompan scripted a story that weaves history into fiction in a way that does not bog down the narrative or leave it without substance. We meet Yi Soon late into the introduction of the story. Yi’s introduction is a sequence worthy of any hero. But before meeting Yi, we’re introduced to the Japanese leaders spearheading the invasion. Kompan handles the story by using dialogue and narration. It’s balanced well. Each portion of the text is offering something that advances the narrative and keeps the pace moving. During action scenes, the narration is a somber reminder of the consequences of war. The narration also serves to build the legend of Yi.
Co-Writer and editor David Anthony Kraft keeps the narrative tight and precise. Only a few moments occur when some more text could be trimmed. However, it’s important to note for readers that the dialogue in the book is not “historically accurate.” For starters, this Korean story is being told in English leading to things that might get lost in translation and it makes use of creative license. Secondly, modernisms like “man up” crop up from time to time. For readers looking for the dialogue to keep you in the 16th century at all times, Yi Soon Shin falls short. But the “modern speak” is not overused or distracting otherwise.
ART
Giovanni Timpano is a veteran artist from Italy who works on books like Lone Ranger/Green Hornet and Cyberforce. Timpano’s style has great range, and here he marries it with something reminiscent of centuries-old oil paintings. Adriana De Los Santos provides the right mixture of colors to make this old-school style come alive. The book looks rich and it provides the comic book a gravitas that plays perfectly into the weight of the story at hand. Lines are thick, but not muddled. Colors are muted but not desaturated. Layered on the visuals is crisp lettering from Joel Saavedra. However, one gripe is the yellow text on orange background used for the narration. It can be a little intense at times and such a sharp change from the more muted feel of everything else.
Yi Soon Shin is a careful blend of history and fiction. It’s a rare feat for any story to pull off, but this comic book does so with great skill. Unofficially, this is a review of what might be considered Chapter 1 of the Yi Soon Shin story. It’s the introduction of our main character and the world he inhabits. We learn Shin’s internal and external struggles. It sets up ruthless villains, a mystery, and more. It also ends with a gruesome cliffhanger that will make you want to continue to the story of this comic book without a second thought.
The Testament is a film about global and personal horrors and what makes us who we are. The fundamental questions at the heart of this Israeli film are certainly fascinating to explore. Any film would do well in wrapping around ideas like those in this film. However, the slippery slope is always in the execution. So, does The Testament unfold in a satisfying way or does it signal a rough road ahead?
Yoel (Ori Pfeffer) is a Holocaust scholar who is working on a special project that’s trying to locate a mass grave somewhere around the village of Lendorf in Austria. The Austrian government and the village are trying to expand. But Yoel’s continued efforts to find the gravesite thwarts new construction. However, after more than 20 attempts to find the site, Yoel has come up with nothing. The window to continue search is closing fast, but Yoel is determined to get to the truth he believes exists.
The Testament is one of those types of stories that could
work with little razzle-dazzle from the visuals.
The Testament centers around Yoel’s struggle to find the site. It starts in Jerusalem, at the high-tech facility where Yoel does his work. Writer/Director Amichai Greenberg unveils some gorgeous shots of the city, but otherwise doesn’t try anything interesting with the visuals. The film plays out almost like theater, heavy with dialogue in various languages, and short on cinematic movements. Is that a critique? It might be depending on what a viewer likes. Not every movie needs to involve brilliant camera work. Some stories lend themselves to simplicity.
The Testament is one of those types of stories that could work with little razzle-dazzle from the visuals. Such movies though really need to hit a home run with the pacing of dialogue and the reveal of new truths for the lead character. The Testament falters on that end. Yoel is often dry and unlikable. It’s hard to root for him at times and the film leaves a disconnect between the viewer and the character. Instead of drawing us into his world, Yoel keeps us at arm’s length.
The thrust of The Testament revolves around that gravesite, but finding it isn’t the entire point of the movie. The setup of the film clearly defines Yoel as a devout Jew, even wearing an untrimmed beard and payot (side curls). Yoel is strictly observant of Jewish traditions. And it’s during Yoel’s research that he happens upon a photo of his mother in a secret government file. As it turns out, Yoel’s mother wasn’t Jewish, meaning Yoel isn’t Jewish either. Or is he?
The identity crisis fractures Yoel, marking a turning point where the film becomes more poignant. Is devoted faith superseded by birthright? Is Yoel any less Jewish now that his bloodline doesn’t “officially” connect him? These are some heavy questions for the devout and even the non-religious to ponder.
In the end, The Testament doesn’t take those questions in directions that make it very fun to watch. Like Yoel, the film has a dryness to it that just keeps it distant. Perhaps for those closely connected to the religion, the film will have a deeper impact. The Testament is a lost opportunity to truly connect a wider audience with the universal question of what makes us who we are.
Welcome to the twenty-sixth episode of the Comic Show by Monkeys Fighting Robots! Anthony’s all on his lonesome this week, and he’s talking about the first two parts of Avengers: No Surrender, Marvel’s new weekly event. Is it worth the time and money, or is another Marvel cash-grab? He also reviews Ice Cream Man #1, the new twisted anthology comic from Image.
Ice Cream Man #1 is out this week from Image Comics, and it’s 31 flavors of disturbing.
Written by W. Maxwell Prince, with art by Martin Morazzo and colors by Chris O’Halloran, Ice Cream Man is a story about…a lot of things. It’s an anthology series, and each issue will feature a new story with a fresh set of characters. And at the center of it all is the ice cream man. This first story, entitled “Raspberry Surprise”, has elements of a crime story, a horror story, and a fantasy story all rolled into one, PLUS it’s a black comedy, and THEN Prince throws in a little philosophy for good measure. Sound like a lot? It is, but consider it a sundae. You can have a lot going on in a sundae, but as long as all the ingredients are in proper proportion with each other, it can still taste delicious.
And this is one delicious sundae.
“Raspberry Surprise” introduces us to a small town full of “kooks and crazies,” each one suffering in their own way. The plot goes in so many weird and unexpected directions that it’d be a shame to divulge anything else, but if you’re a fan of dark and surreal storytelling, don’t sleep on this oversized first issue.
Prince and Morazzo build a sense of dread like nobody’s business. Even something as pure and mundane as a kid walking down the street eating an ice cream cone feels tense. You have no idea what’s going to happen because, hey, it’s just a kid eating ice cream after all, but you just watch and wait for the other shoe to drop, glued to the page. That’s how the entire book feels. You just need to see what happens next.
Morazzo’s art reflects this tone as well. The characters are and look human, but there’s something off about each of them that you can’t quite place. Again it creates this friction in your mind where everything seems commonplace, but you know that’s not true, and the dread and suspense builds.
But below the eerily entertaining surface, Ice Cream Man is about suffering. Each issue in the anthology will tackle suffering in a different light, and explore the nature of human existence. It adds a nice layer to the series, giving the audience something to think about and reflect on. It makes the series – which, again, has very strong fantasy elements to it – more relatable and grounded. We don’t really get a chance to get to know the characters in this story; we never form a bond, and we never will since next issue will be a whole new story. But Prince’s story and the themes therein somewhat make up for that flaw; they help us form some sort of connection to this world.
Sometimes the best stories are the weirdest ones, the ones that don’t fit in any one category. Ice Cream Man is a trippy, twisted, and surreal ride into suburban horror, and it’s just damn fun to read.
Sometimes we all need help picking the right movie for the family. In this case, I relied on the advice of fellow critic Courtney Howard (a great writer) as she gushed about Paddington 2, a special film that taps into something that cuts across all demographics. What a joy this film is.
How could a film with this simple of a premise have such a profound effect on everyone? Perhaps in a world that seems to be dominated by negativity, the tale of Paddington, a bear who wants nothing more than to spread a message of friendship, is exactly what the doctor ordered.
Director Paul King and screenwriter Simon Farnaby have developed a story that’s equal parts colorful and poignant. The themes of family, friendship, and love are woven throughout, and the levity Paddington provides strikes the perfect balance. Ben Whishaw is perfection as his voice brings the iconic character to life. Sally Hawkins, Hugh Bonneville, Madeline Harris, Jim Broadbent, and Julie Walters return to round outthe supporting cast. While the story centers around a case of mistaken identity that leads to our favorite bear being accused of theft, it’s Paddington’s heart that takes center stage.
While London provides a wistful, romantic quality, it’s the scenes in Windsor Garden that stand out. Paddington spends most of his time doing good deeds for his fellow neighbors, not worried about who they are or where they come from, just focused on brightening their day. Of course, this leads to some comedic hi-jinks (many of which are seen in the trailer) but it’s the look of astonishment on their faces which stays with ya. In a world that seems drab and dreary at times, Paddington is a glimmer of hope for the local residents. The impact of kindness is revisited throughout the film.
One of the sequences that stands out is how the film set up Paddington’s desire to bring Aunt Lucy to London. Rather than explaining this through some sort of tired flashback, they make clever use of a pop-up book – which becomes a central item in this story. As each page morphed into another, another part of Paddington’s dear aunt’s potential journey was shown. A charming way for this part of the story to unfold.
Perhaps the highlight of the whole film was seeing Hugh Grant’s as the scoundrel, Phoenix Buchannan. Grant is so smarmy and cheezy as the former A-list celebrity who has ulterior motives. Some have scoffed at the notion of Grant receiving this level of praise for such an odd role, but it’s warranted.
While January often leaves movie lovers with little options to choose from, it appears Paddington 2 has given us something to gravitate towards. Stay clear of regurgitated sequels that involve Liam Neeson and go visit Paddington Brown of Windsor Garden. While he might not have a special set of skills, what he will do is warm your heart.
