I, Tonya is going to surprise a ton of people. The subject matter, the visuals, the acting, and the music make this film a must see heading into awards season.
About the film: Based on the unbelievable, but true events, I, TONYA is a darkly comedic tale of American figure skater, Tonya Harding, and one of the most sensational scandals in sports history. Though Harding was the first American woman to complete a triple axel in competition, her legacy was forever defined by her association with an infamous, ill-conceived, and even more poorly executed attack on fellow Olympic competitor Nancy Kerrigan. Featuring an iconic turn by Margot Robbie as the fiery Harding, a mustachioed Sebastian Stan as her impetuous ex-husband Jeff Gillooly, and a tour-de-force performance from Allison Janney as her acid-tongued mother, LaVona Golden, Craig Gillespie’s I, TONYA is an absurd, irreverent, and piercing portrayal of Harding’s life and career in all of its unchecked––and checkered––glory.
Writing
Steven Rogers script is brilliant; he makes sure we care about Harding, all while breaking the fourth wall with his characters. After watching I, Tonya, it would be interesting to see what he and director Craig Gillespie could do with something like Deadpool. Rogers’ two-hour movie is basically broken into two parts, each given equal screen time. Then, he mixes in faux reality TV interviews and an occasional splash of violence to keep the film just off balance. It’s a dark comedy, but emotional beats land along the way, which is key in such salacious tabloid fodder as this.
Direction
Gillespie adds a noticeable style to I, Tonya. It’s a mockumentary; it’s a gut-wrenching drama; it has comedy and, yes, it’s even been compared to Godfellas (but let’s not get ahead of ourselves). I, Tonya is all over the place cinematically, but in the best way. Gillespie shows us the domestic violence that painted Harding’s upbringing and eventual marriage in such a way that you feel for Margot Robbie and Harding on a deep, personal level. Sebastian Stan as Jeff Gillooly smashes Robbie’s face into a mirror, one of the few abrupt tonal shifts and an image that’s hard to shake.
Acting
Margot Robbie gets the mannerisms of Harding; there are a few scenes from behind where they look identical. The grit and world-weariness Robbie brings to the table as she does things like give a sideways glance or spit swears at the judges makes you root for this troubled underdog. Allison Janney as Harding’s mother is a scary person that no one will fuck with, and while the razor-sharp language is a credit to Roger’s writing, the delivery is all Janney. Stan can flip the emotional switch from love to hate as Gillooly, and even though the guy was a complete goon in the end, Stan’s performance pulls us in before repelling us.
Music
The music is what ties this movie together and takes it to the next level, cinematically. These are all songs you’ve heard before in other films, but the timing of music and the emotion involved works so well in I, Tonya. Romeo and Juliet by DIRE STRAITS works in movies, but when you pit it against domestic violence, you’ll never hear the song the same way again.
This is the conclusion of a crossover between Super Sons, Teen Titans, and Superman. If you haven’t read the review for part three, click here.
The final battle for Superboy’s life is about to begin. What started seven against one has turned into three groups, each with their own goals. The Future Tim Drake, now dubbed as Savior, leads Beast Boy and Raven to “subdue” Jon. Next, we have the Teen Titans protecting the Super Sons as they head to the Fortress of Solitude. Last, we have the unexpected Titans of Tomorrow, consisting of Superman Conner Kent, Wonder Woman Cassie Sandsmark, and Flash Bart Allen. These heroes know Tim Drake’s actions could cause disruptions to the timestream, so they seek to stop him. Will the heroes stop Savior’s plan to kill the Boy of Steel or will Jon fall?
Story:
After the Teen Titans find Damian and Jon at the secret Super Sons base, they take the duo to the Fortress of Solitude. They hope that Superman will be able to stand against Savior, however, he is still kept in the trap laid for him back at the beginning of the arc. To prepare his son for the coming attack of Savior, Superman has Aqualad break the ice under the trap and fake his own death. This ultimately causes Jon to freak out, activating the Super Solar Flare power from the last issue. This causes all three groups to work together to stop another explosion.
This issue’s biggest problem is only clear when reading through the entire issue: the pacing is way too fast. An entire story that could have been two fantastic issues are condensed into one rushed issue. The Titans reunite with Damien, go to the force of solitude, find Superman, fake Superman‘s death, and stop the Superboy explosion in a matter of a single issue. The pacing of the issue causes the interactions to feel extremely awkward. Three heroes from the future just appear and nobody asks who they are! They just pop in and help contain the solar flare.
It feels as if they had to wrap of the story arc in the span of four issues. It says “to be concluded in Super Sons #12,” but everything that has happened in this issue feels like the actual ending to the arc. The problem is solved and heroes are left wondering “what’s next,” as most crossovers end. If anything, Super Sons #12 is going to be an epilogue, which could possibly redeem this issue. As it stands, however, this was a poor way to end the story.
Art:
While the story has flaws, the art is a nice step up from the previous part. Ed Benes teams up with Sergio Fernandez Davila to pencil the finale, and it looks great. It is able to capture the art styles of all three series and mesh them together to form one fantastic looking book. The colors of Gabe Eltaeb and Dinei Ribeiro go hand-in-hand with the pencils. With the work of both teams, the art just pops off each page beautifully. If there’s any reason to pick up this book, it would be to see this fantastic art first hand.
Conclusion:
This wasn’t a good conclusion. It’s extremely rushed and fails to show the weight of what has happened. If each series had an extra issue to explore the world Savior and the Titans of Tomorrow come from, as well as stretch out this issue, this might have been a passable arc. As it stands, while a pretty story to look at, The Super Sons of Tomorrow has fallen flat.
Brian Taylor, who directed Ghost Rider: Spirit of Vengeance, had some interesting things to say about the Marvel Cinematic Universe to Comic Book . The director, for one reason or another, just “doesn’t understand” the films. Down below is his full quote.
The Marvel [Studios] movies, I just don’t understand at all. I have to be honest, they seem very long to me. I’ve got to be careful the way I say this. I just don’t get them. I’m kind of bored with them and I just don’t find them particularly entertaining. I think they’re really well made in terms of craft. The action is really good. They’re technically really great. They have a lot of actors that I love. But I just don’t get it.
Though Taylor shared his distaste for Marvel films, he points out that he has been a comic book fan since childhood.
“I was a comic book kid growing up. I loved superheroes, and I love comic books. If there was an opportunity to do a comic book movie in a way that felt the way it made me feel reading comics, then obviously it would be fun material to do.”
Given Taylor’s background as both a filmmaker and comic book fan, his criticisms confuse me even more. The MCU blends comic book wackiness and storylines with the cohesive structure of a well put-together movie.
Do you agree with Taylor’s comments? Sound off down below, in the comments section.
The FX hit superhero show Legion has cast its Season 2 villain for the second time. During the show’s panel at TCA, it was announced that Homeland actor Navid Negahban would be joining the show as Shadow King.
Aubrey Plaza portrayed the iconic comics villain in Season 1 of Legion but as the show moves toward a more traditional portrayal of the character, a new actor was needed to be brought in. It was first announced that Wonder Woman actor Said Taghmaoui would take on the role but he then left the show for what are still unknown reasons.
Before being cast in Legion, Negahban starred on Homeland for its first two seasons and has also made appearances on Arrow, 24 and Curb Your Enthusiasm.
“Legion follows David Haller, a troubled young man who may be more than human. Diagnosed as schizophrenic, David has been in and out of psychiatric hospitals for years. But after a strange encounter with a fellow patient, he’s confronted with the possibility that the voices he hears and visions might be real.”
Insidious: The Last Key is the closest I’ve come recently to those memories of my teenage years, and watching USA Up All Night with Gilbert Gottfried and Rhonda Shear. So many horror movies were neutered and shoddily cut to fit in the timeframe of the show, but in the end it still worked on a stupid fun level. With that description I present to you The Last Key.
There were just enough scares and dumb dialogue that it’s tough to get mad at the film, and just enjoy the awkward rollercoaster ride; this film has no aspirations. Go out with your friends, have a few drinks and enjoy this marginally funny, scary experience.
The director of the film, Adam Robitel did get me though, a few times. I knew a scare was coming and he delayed it, built it up, and then made me squeal like an eight-year-old. The other movie critics just laughed at me.
How I Would Have Fixed The Film
Including the budget of The Last Key, Blumhouse has made $350 million on the previous three films. First, let’s bump up this budget from $10 million to $20 million. The film started off in 1953, and should have remained there, where the story flourishes. The extra money would have been used for sets and costumes to give the film a gritty, dust bowl feel.
Secondly, none of the original cast would have been in the movie. Lin Shaye is the only one who could have shown up at the end as a cameo to tie the film to the rest of the franchise. Leigh Whannell and Angus Sampson should stop acting after The Last Key, which is sad because Sampson was remarkable in season two of Fargo. Whannell gets a token role because he wrote the film. He even writes that he gets the hot girl too! The Blumhouse Human Resources department might want to have a conversation with him.
Thirdly, write a plot and a kick-ass origin for the demon coming after Elise Rainier. There are elements of a good film in The Last Key, but they get bulldozed over by dumb un-original writing. Give the audience answers and an origin to the demon with keys. A great villain can carry an average hero. Focus on the demon.
Elise’s original house was on the same property as a prison that was executing prisoners, yet we never went into the prison. Elise as a child would talk with the recently executed as they passed over from the living. Just writing that sentence, I want to see more of that. It doesn’t get creeper than evil dead people talking to you as a kid. Prisons, electric chairs, and dead prisoners are scary! The writer of the film, Leigh Whannell should have gone this route instead of the very bad comedic venture he went with.
Blumhouse, if you need a horror consultant, you know where to find me.
Molly’s Game is the fifth film adaptation of a true story to be written by Aaron Sorkin and marks his first time sitting in the director’s chair.
Molly Bloom was a promising skier who was forced to retire early after a horrific crash at the Olympic Qualifiers. She decides to take a year out in Los Angeles before attending Harvard Law School. In LA she works as a cocktail waitress before working as the assistant for a sleazy real estate agent (Jeremy Strong). This assistance job starts her journey to become the ‘Poker Princess’ and leads to her rubbing shoulders with movie stars, businessmen and gangster and puts her on a collision course with the FBI.
Idris Elba and Jessica Chastain star in Molly’s Game.
Ever since his early days as a writer Sorkin has been seen as the master of dialogue, and he often injects academic references and political subject matter. He also attempts to psycho-analysis his subjects: in The Social Network Mark Zuckerberg was dumped by a girl, and he created Facebook out of spite, in Moneyball Billy Beane was failed by the baseball scouting system as a player, so he set out to change the system when he became a general manager, and the focus of Steve Jobs was on the Apple co-founders’ relationship with his illegitimate daughter. Molly’s Game is no different and Sorkin looks at what drives this talented, intelligent yet troubled woman.
In Molly’s case, she is shown to be a intelligent and determined young woman. She was shaped by her overbearing father (Kevin Costner), a psychology professor who demands physical and academic excellence. This leads to Molly’s drive for success – if she is told she can’t do something she’ll do everything in her power to prove them wrong. But Molly is also resentful of her father and she’s the rebel of the family. She had an attitude that she has to prove herself whilst also to say ‘screw you’ to her father. Even after her success as a gambling kingpin she still longs for her life as an athlete and wonders what her life could be as a lawyer. Basically, Molly Bloom was turned into a typical Sorkin character.
Structurally Molly’s Game is similar to The Social Network. Both films focus on the rise of their characters and the people they cross along the way and have a framing storyline about the main character’s legal problems. In Molly’s case, she is broke and pressured by the prosecution to turn into a state witness. Like with The Social Network the two storylines in Molly’s Game slowly converge.
Molly’s Game also has a Goodfellas style narrative, a rise-and-fall story with all the up-and-downs its entails. Molly Bloom was working in a legally gray area, and she could have turned into a gangster if she wanted to. She states she holds a lot of her players’ debt and she could collect if she wanted to and she had access to a lot of powerful people. The film goes to great lengths to show Molly having some morals: she is shown to be unwilling to exploit bad players for too long, and she refuses to use violence to collect debts. Molly’s intelligence means she doesn’t need to.
Also like Goodfellas and other films that have copied the Scorsese formula, Molly’s Game has a heavy reliance on voiceover. This was done to explain the details of freestyle skiing, poker and all its terminology and introducing new characters. It is so dense that’s sometimes hard to keep up with – not helped by Sorkin’s need to show how knowledgeable he is.
Sorkin also goes to certain lengths to justify the changes that were made to Bloom’s story. The film opens with Molly Bloom saying that changes to names were made because of legal reasons. Michael Cera (who I admittedly thought was Jesse Eisenberg at first) plays a Hollywood star only known as Player X because he was a composite character based on real actors – so not a good idea to burn bridges. One scene Molly’s boss uses the term ‘poor person bagels,’ but her lawyer (Idris Elba) believed he used a more offensive term.
Before Sorkin was a screenwriter, he worked as a playwright – hence his love for fast, back-and-forth dialogue. Films like The Social Network and Steve Jobs had excellent directors to make them visually engaging. Sorkin had to compete with David Fincher and Danny Boyle – and he does it. Molly’s Game started with an impressive skiing sequence and Molly getting arrested by the FBI. Sorkin also made the poker sequences compelling due to the various outcomes that could happen – using card graphics to do so.
Molly’s Game had a great cast, but it was Jessica Chastain’s show. Chastain is an obviously talented actress, and she gives the role of Molly Bloom her all. Chastain gave the dialogue the authenticity it needed, and she had the necessary range. She has an impressive filmography, and her performance in Molly’s Game is one of her best.
While Sorkin is a great screenwriter he does have one major issue: he likes to show off how smart he is. There are a lot of character backstories being told, literary and political references abounded. Sorkin is also openly political: his biggest TV show was The West Wing. In Molly’s Game Sorkin uses the film as a well for him to make political points about Molly’s treatment by the authorities and the people Molly’s served instead of her crimes. He makes valid points, but it came across as Sorkin trying to educate the audience rather than coming off as natural exchanges.
Sorkin shows promise as a director and he was blessed Jessica Chastain as his leading lady but Molly’s Game doesn’t quite match the highs of The West Wing, The Social Network and Steve Jobs.
As we enter a new era of Marvel Comics, I’ll be providing a weekly report on all Legacy titles. Your one-stop guide to what’s going on in the 616 universe from your resident Marvel fanatic. Above you’ll see Marvel Legacy’s report card for the week, then below we’ll dive into each book. Let’s dig in!
Also, check out our coverage from the previous weeks!
Chapter Four of the “Negative Zone Mutant Adventures” is silly and clunky. Our Gold team of mutant heroes find it’s up to them to save a planet from a god that’s been freed and wreaking havoc.
It may not be the strongest issue of the arc so far, but it leaves the team marooned in the Negative Zone, which is fantastic. If a throwaway distraction issue is what it takes to extend our time in the Negative Zone, it’s worth it.
Kitty is still very much up front as the leader and MVP of this team, Guggenheim utilizes her well. Guggenheim is really great at using mutant powers, never forgetting to use everybody in some capacity.
This isn’t the strongest showing for the art, there are a couple of shaky panels. Some of the pages look thin, some panels seem emptier than they could be. There’s an overall lack of emotion of character, most of the X-Men just look like faceless body models. Some of the coloring decisions are a bit puzzling, grating even.
For a book that’s being published every other week, it’s been impressive overall. This is by no means a piss poor looking book, it’s just the uglier of the bunch we’ve gotten recently. Don’t hold this against any of these great artist, chalk this up to deadline demands taking priority over time for details.
Even though this is easily the weakest installment of this arc, I’m more than willing to stay in the Negative Zone for as long as possible. This isn’t an awful issue, just not up to par with the preceding bunch.
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Spider-Man #236 “Sinister Six Reborn” Part Three
Why is Bendis getting so wrapped up in family affairs that aren’t Miles and his uncle Aaron? That’s the whole reason we’re here. Lana’s conflict with her mom isn’t compelling, it’s a distraction.
Ganke’s girlfriend calling him “Ned” is infuriating. I have no time for a half-ass attempt at justifying how Ned in Spider-Man Homecoming is a carbon copy of Ganke. We don’t need that connection.
Electro and Sandman’s conversation, about her carrying on the “goofball” Max Dillon’s legacy, is fantastic. It’s something that happens constantly in comic books but rarely do we get an actual conversation between two characters about it.
Oscar Bazaldua’s artwork hits when it needs to. The Spider-Men showdown moves fast and furiously, I appreciate that he doesn’t ignore Iron Spider’s extra legs. Sandman’s tiny recon self-drone is a new and creative use of his powers. Brian Reber keeps things subtly bright, with background sunsets and the Sinister Six costumes.
We finally get to the uncle/nephew Spider-Men showdown, if only for a brief moment. The more we explore that gigantic revelation, and these little Sinister Six moments, the better.
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Rogue & Gambit #1 “Ring Of Fire” Part One
Kelly Thompson has the charm turned up to the maximum level once again. The set-up here is good ol’ fashioned comic booking. It’s like the premise for a 80’s comedy completely entrenched in mutant chaos. It’s also nice to see Rogue as a lead character in an X-Men comic rather than an Avengers one (even though Uncanny Avengers is phenomenal).
Even the final page transition is executed exactly like an 80’s comedy, but there’s so much more. If Remy and Anna Marie don’t find their way back together for good, merely exploring and examining their past makes for a great book on it’s own.
Either way, we’re clearly in for a treat. Kelly Thompson is a top talent for Marvel, this series is a perfect fit for her once again. Every single character that Thompson touches has the perfect voice and is deployed flawlessly in little bits. She’s an extremely precise and effective writer, never rambling on with her characters.
Right out of the gate, this book opens up with a stunning offensive strike right at the heart of every Rogue/Gambit fan. Everything from Gambit’s eyes to Pixie’s flapping wings, every bit of this book is detailed and effective. This might be the longest look we’ve gotten at the inside of the Danger Room in years.
Pere Pérez and Frank D’Armata deliver some of the best pages we’ve seen since the start of ResurreXion. Our two lead characters are very flawed and conflicted. They have a long and muddy history together. Every bit of doubt, despair, hope, anger, disgust, and admiration is illustrated fully. There’s a wide range of emotions on display and the reader never needs a second to sort them out.
Rogue & Gambit #1 begins in spectacular fashion. Thompson, Pérez, and D’Armata are bringing their A-game to a comic that will undoubtedly mean a lot to some very passionate fans. An already healthy time for X-Men comics gets even healthier. Kelly Thompson deserves more Marvel titles.
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Iron Fist #76 “Sabretooth: Round Two” Part Four
Ed Brisson writes a damn good Kung-Fu showdown. The dialogue walks the line between cheesy and bad-ass perfectly. The Rat of Twelve Plagues is a disgusting creature, when he meets his demise at the hands of Sabretooth it will be supremely satisfying.
Sparrow, the guardian of K’un-Lun, is the MVP of this issue. Her fight against Choshin is the biggest highlight of this exciting installment. Danny gets put in his place more than once, he’s got a lot to prove in the final issue of this arc.
The heavy ink and sketchy pencil tapestry makes this feel like an epic tale of Kung-Fu history. Fight choreography is on another level, every fancy move displayed and labeled like a learning guide to fighting styles. The occasional disproportionate hand or head still pops up, but is easily overshadowed by the overall appeal of the art.
Mike Perkins and Andy Troy do wonders for the story with the direction they’ve chosen for the art. Ed Brisson has many tools in his writer’s toolbox. This is a highly entertaining story that doesn’t use Iron Fist as a crutch. We could spend any amount of time with any of these characters and Brisson would keep us turning the pages.
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Phoenix Resurrection #2 “The Return Of Jean Grey” Part Two
This story is big in every way. Bigger than even Marvel was marketing it to be. Matthew Rosenberg is being bold and ambitious, so far it’s really paying off. There’s a foggy bit of mystery that puts the reader in a similar mindset to Jean.
We legitimately don’t know what’s waiting around every corner, or what to expect when we see a familiar face. It’s been a while since X-Men comics had something this big and exciting happening that’ll effect the whole line of X-Books once the dust settles.
The little nod to X-Men All-Father, Chris Claremont, as Jean’s old teacher was a nice touch. Matt Rosenberg plays with the gigantic cast of mutants in these precious, quieter moments. His voice for Iceman is fantastic. Bobby gets some of the best lines in this issue, poking fun at the team he finds himself on.
Carlos Pacheco, Rafael Fonteriz, and Rachelle Rosenberg elevate this story to another level. The thick fog of mystery comes through clear, so does the sense of urgency and anxiety among the X-Men investigating the strange occurrences. The big group shots are glorious. They should bring a smile to every proud X-Men lover.
Phoenix Resurrection is happening fast, hop on now before you get left behind. This is way bigger and better than any of the previews made it out to be. Matthew Rosenberg is doing big things without needing to halt an entire line of comic books.
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Iceman #9 “The Apocalypse Seed” Part One
This comic feels like someone working through issues that don’t belong to Bobby. Perhaps the reason it’s been such a struggle to buy this version of Iceman is because there’s little to no effort put into him sounding like Iceman.
Sina Grace has no shortage of witty dialogue and amusingly snarky comments for characters to make to each other. If only they were additional layers and not the meat of each page.
The art isn’t bad by any means, but there’s one major mistake. How do you completely miss the mark on Daken’s arm tattoo when it’s peaking out of his shirt? The half-ass attempt at his very simple tattoo design is an extension of how disconnected this book feels from the rest of the X-Men titles. It looks a lot better once Daken’s shirt comes off, but that makes the hallway panels even more puzzling.
There’s nothing of weight to take away from this as an X-Men fan. There are silly dialogue moments and interactions that are enjoyable, but nothing that emphasizes or utilizes the fact that this is a book about an X-Man.
Nobody’s motivations are clear or interesting, Bobby’s boyfriend dies for seemingly no reason and he’s barely affected by it. Daken and Bobby’s fight sequence makes for an enjoyable page, thanks to the artwork.
It’s a chore to read this series every month, which is a shame because in theory it could’ve worked. Nothing against Sina Grace, I just don’t think his brand of storytelling translates here and this comic ends up feeling uninspired.
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Hawkeye #14 “Family Reunion” Part Two
Kelly Thompson isn’t a perfect fit for just one Hawkeye, she’s got a voice for both of them. Clint trying to work with all of Kate’s “sidekicks” is delightfully dysfunctional. His awful rescue plan blowing up in their faces is hysterical.
The consistent wit and charm, mixed with the visual appeal of an old spy/private eye comic, hasn’t become any less admirable through fourteen issues. Little character moments like Madame Masque’s concern regarding Kate’s hip holes keep readers smiling throughout each issue of the series.
Clint’s assault on Madame Masque’s hideout is intricately laid out and cleverly executed. Leonardo Romero makes sure the comedy bits land in their visual execution. He also makes sure the action is flashy but gets straight to the point. Jordie Bellaire does some of her finest coloring work on this run. Every panel has a striking, deep color that amplifies the pulp appeal.
Hawkeye is a book ending way too soon, clearly this creative team has a lot more to say with these characters. This arc is every bit as beautiful and quirky as it should be. This certainly isn’t a book that every superhero fan is going to love across the board, but it will likely build upon the cult status it’s already garnering.
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Guardians Of The Galaxy #150 “Infinity Quest” Part Five
Gerry Duggan’s final chapter before Infinity Countdown is a satisfying bridge from one series to the next. The Guardians’ time with the Nova Corps has been a blast, but now they join the rest of the intergalactic landscape in their search for infinity stones.
The last couple pages of this issue set up a ton of future narrative, including the return of Adam Warlock. There are some major players, and unexpected ones, all marching towards the same goal. There’s some real buzz that comes along with completing this issue, an unshakable excitement for any cosmic Marvel fan.
The modernization of Adam Warlock looks stupendous, he’s a character that always reflects the style of the times. His return to Marvel’s cosmic side of the universe is a major move to restore the cosmos to a place we need to see more stories out of.
Aaron Kuder and Marcus To have once again outdone themselves in both design and layout execution. I really appreciated that little magnifying glass balloon zooming in on Ant-Man’s kick to the face of a Raptor. Scott Lang is absolutely the MVP of this issue. Whether he’s shrinking or growing, every action shot is mesmerizing. Gamora discovering the Raptor spy, and swiftly removing, was another highlight page.
Along with Kuder and To, Ian Herring also plays a big part in this silky, smooth, and colorful cosmic adventure. There’s a lot happening in the stars behind these characters in each page. It’s impressive how beautiful these layouts of space are without the use of “Kirby dots” as well.
This brilliant Guardians Of The Galaxy ongoing series comes to end, but mostly just in name. We’ll probably see another book on the other end of Infinity Countdown, depending on how well it does. Gerry Duggan is a supernova cosmic Marvel talent, to let his intergalactic vision go to waste would be a travesty. Kuder, To, and Herring have also used this series to firmly stake their claim on a chunk of cosmic real estate.
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Captain America #697 “Home Of The Brave” Part Three
Steve gets put to the test by Kraven The Hunter in a fast-paced, non-stop celebration of classic comic book crafting. It’s nice that these have had a common thread from issue-to-issue but largely self contained stories. This issue is fully loaded with everything that could make a Cap book great.
The little creative details, like Cap using his belt to clear some snakes, illustrate that he really has been through this before. Moments like these give Steve Rogers the older and wiser aura that your grandparents are supposed to have. Every precaution Steve takes to navigate this treacherous jungle reinforces this notion.
Chris Samnee and Matt Wilson make every stride and strike matter and practically jump off the page. Cap uses some wresting moves to wrangle that jungle cat away from it’s prey, the choreography is interesting.
Kraven The Hunter, in his classic costume, is the perfect villain choice for this art team as it continues to extract and refurbish the elements that made Captain America comics a Marvel staple. While this is still a gorgeous book, it’s not as polished as the previous few issues.
This also marks the first we’ve seen of the “Where Is Wolverine?” segments. A single page that puts Logan just out of reach of Steve, it’s short and sweet. These are going to be a solid way to keep up with Logan as he claws his way back into our lives.
What a good ol’ fashioned comic book full of twists and turns! Mark Waid and Chris Samnee are effortlessly reminding us why we love Captain America, but comic books in general.
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Black Bolt #9 “The Midnight King Returns To Earth” Part Two
Breaking the news about Absorbing Man to his wife, Titania, was still heartbreaking despite the fact that we knew exactly what we were getting into. That’s a combination of how well written the scene is by Saladin Ahmed, and how heartfelt and memorable the time we spent with Carl before was.
Seeing the other side of hero/villain experiences is always worth exploring. A devastated and grieving wife explaining how she can’t afford a funeral because “it’s not like super villains have life insurance.” Ahmed does a brilliant job making this ridiculous scenario relatable. Carl’s funeral, and the inclusion of Captain America and Odinson, was touching by all accounts.
Titania and Black Bolt’s fight is an eye-candy extravaganza, all the way down to the Spidey and Hulk graffiti in the background. The artistic vision on display here is one that even the most visual film director can’t accomplish. Christian Ward is still catching us off-guard and disarming us every issue despite one of the most celebrated artists of 2017.
I feel like this is what Frank Miller thought we was doing with the visual style of TheDark Knight Strikes Again. I don’t know if he just couldn’t translate the vision as well as Ward, or the technology wasn’t there, or a combination of both. I would be interested to hear what he thinks of this series.
Even when taking the action to Earth, Ahmed and Ward continue to blow our minds with their vision and execution. Black Bolt is an abstract and unique spectacle that carries a lot of heart at it’s core.
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Astonishing X-Men #7 “A Man Called X” Part One
Charles Soule enlists Phil Noto for his Astonishing debut under the Marvel Legacy banner. This book was already one of the top X-Men comics, Soule doesn’t take his foot off the gas pedal in the least.
The bringing back of one Charles Xavier is a heavy burden. Soule is aware of the weight he is carrying and seems to be handling the material gently. That’s if you believe this is truly Professor X that has been resurrected. I’m not willing to commit to that until Xavier’s word balloons are reversed.
Whether you think this is our long lost Chuck or not, there’s a lot of tension in this issue. The series as a whole has had readers on their toes. Now the reader, along with the characters, has to decide who to trust and what they believe. There’s something that’s off in the atmosphere, adding a layer of intrigue to an already stellar X-Men story.
This issue doesn’t feature a lot of action, it’s also not a jumping on point for new readers. Soule keeps continuing his story, as he should. This is a limited series, seven issues into a story, there’s no time to pick up new readers.
Phil Noto wastes no time making his presence felt, his Archangel pages feature dull backgrounds that make deep blues and oranges in the forefront explode off of the page. His sketch style pencils add lines of character and flaw to these damaged mutants.
I can’t tell if Bishop’s head is drawn too big or if his lack of shoulder pads, and other such 90’s equipment, make it seem big. The design of his costume is a nod to his 90’s look so perhaps it’s a trick my eyes are playing on me.
Astonishing X-Men has been the best X-Book since ResurreXion, that doesn’t change here. Charles Soule is master of mutant meddling and plotting. He’s a big contributor in getting the X-Men back on track as a whole. Phil Noto makes for another delightful collaboration on this title with his outstanding artwork.
Though the name of its new series based on The Chilling Adventures of Sabrina comics is under wraps. Netflix has tapped former Mad Men actress Kiernan Shipka as its version of the teenage spellcaster. But her version of the character will tonally differ from Melissa Joan Hart’s version. As this upcoming version of the teenage witch is a coming of age story which dabbles in horror, witchcraft, and the occult.
Whereas the 90s version was more of a sitcom during its run from 1996-2003 as part of ABC’s TGIF lineup. “This is a darker, more macabre version of Sabrina,” said Executive Producer Roberto Aguirre-Sacasa, who also wrote the comics the upcoming show is based on and is also writing the show’s scripts. Sabrina was also part of a rumor that had her making an appearance on The CW show Riverdale. Why?
For those wondering, Greendale is Sabrina’s hometown. In an episode of Riverdale Jason Blossom was shown going to the town prior to his death. Also, the characters are all properties of Archie Comics. Last year, Netflix announced it was going to spend $8 billion to create original content.
The streaming service back then made it clear. They wanted to make at least 50% of its content original shows and movies. With shows like Neo Yokio, Orange is the New Black, and movies like Bright, and the recently announced Bright 2, they look to be making good on that promise.
Netflix has already picked up the untitled Sabrina project for two seasons. Prior to its arrival at Netflix, the project originally was in development at The CW. Which also added to the rumor of Sabrina being on Riverdale. What are your thoughts on the casting news?
Could we see a possible trailer for the show at SDCC this Summer? Comment below!
Fire retro rockets and full power to the shields! The first Steven Universe of 2018 has arrived and it’s a half hour special. How does it far? Time to dive in.
This episode stumbles in a big way. Right after the introduction of what Lars has been up to since the last time Steven saw him, it shows he hasn’t grown as much as we thought. It can be argued its more the crushing realization Sadie is living happily without him but it also feels at first like something else. Like he is crushed she gets to be the one to hang out with the cool kids instead of him. Considering this episode should help to reinforce the idea of how much Lars has grown as a character, there was no need to have him take a major backstep, even for a moment. He’s gained a new role, friends, and opportunities, the last thing which should happen is for him to become the whiny little child he used to be.
It’s not a totally wasted episode because of one bad moment though. Lars looks good in his Captain Harlock cosplay (Google it if you don’t get the reference), it’s impressive to see the roles the off colors have taken on the ship, and a new gem, Emerald is introduced. Looks to be another higher class leader type. Hopefully, not the last time she makes an appearance.
This one took a major turn around pretty fast. Just as it seems like it’s going to be a blander episode of Stevonnie by themselves fighting off alien creatures (which seemed to find a way to get boring for some reason), things become trippy fast. After entering a dream, a lot of information is revealed or hinted at in a large amount of time.
What can be unpacked: The grid pattern on Yellow’s display cements the idea there is a fourth diamond, White who was more of a rumor and speculation amongst fans. Pink Diamond was the youngest member of the Diamonds and wanted to prove herself to Yellow who was older. This is what led Pink to lead the colonization of Earth in order to show the other Diamonds she was responsible enough to be given more control of operations. Powerful stuff from a very trippy moment.
One small complaint though. Can this be the last episode of Stevonnie being alone, talking without anyone to play off? It was cute at first as it represented the duality of Steven and Connie maintaining their individuality even after becoming one being but the novelty has gotten old. The character needs others to play off to real open up and showcase they are different then Steven and Connie alone and are something more than the sum of their parts.
It seems that we’ll all be rolling 7’s soon with Marvel’s announcement on Friday that comic book writer Gail Simone is returning to write an upcoming “Domino” series.
From Marvel:
“When Domino finds herself on the wrong side of the mercenary community, the favorite femme fatale has to fight back and, somehow, stay alive. Hunted by her enemies, a danger to her friends, and chased by the man who hates her more than anything, Domino will be up against the odds—but that’s never stopped her before.”
Simone worked for Marvel in the early 2000’s, writing Deadpool and bringing back the now-famous fourth-wall breaks. She left in 2003, writing primarily for DC comics, including runs on Birds of Prey, Secret Six, Wonder Woman, and Batgirl.
I can’t say much yet, but I am SO EXCiTED for Domino!
She is the poster child for bad behavior. 🙂 If you liked my Deadpool or Birds of Prey runs, this is that stuff with extra hot sauce!
This looks AWESOME. @fredvanlente and I have been having a blast writing Domino in WEAPON X — thrilled she’s getting an even bigger spotlight with the great @GailSimone! https://t.co/R2rSI4epzE
Domino was created by Fabian Nicieza and artist Rob Liefeld, making her first major appearance in X-Force. She is known for her ability to affect probability.
“My favorite characters are always the unpredictable ones, and with Domino, you literally never know which way the dice are going to roll,” explains Simone. “I love her, and I can’t wait to show her best bad side!” – Gail Simone
Zazie Beetz (Atlanta) is set to portray Domino in the upcoming Deadpool 2.
“Domino will continue to be one of the breakout stars of WEAPON X, but fans have been clamoring to see her get the spotlight for some time now…well, your wish has been granted!” – Chris Robinson
DOMINO #1 is set to drop on April 11, with a cover by Greg Land Frank’Darmata.
What are you hoping to see in a Domino comic? Let us know on Facebook, Twitter, or in the comments below!
