‘All-New Guardians Of The Galaxy’ #3, A Chilling Visual Triumph

By

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June 8, 2017

After the messy Brian Michael Bendis era of Guardians Of The Galaxy comics, writer Gerry Duggan has come in to right the ship with All-New Guardians Of The Galaxy. In the third issue, artist Frazer Irving contributes a chilling visual triumph.

In just three issues, Duggan and company have turned Guardians back into a fun and enjoyable comic book. While it’s still nothing like the perfect Abnett/Lanning run, this is the best book of the post-MCU era.

If GOTG comics absolutely HAVE to be like their movie counterparts, this is by far the best version.

Artist Aaron Kuder and colorist Ive Svorcina did a spectacular job with the first two issues. They play just as important of a role as Duggan in resurrecting these previously floundering characters.

Frazer Irving takes over and delivers a truly haunting visual display. Readers take a break from the vibrant colors of the previous issues and instead take a trip down a very dark path.

All-New Guardians Of The Galaxy #3 is a solo Gamora journey. Revisiting the characters twisted beginnings and sordid past. At the center of this creepshow is the Soul Stone and Gamora’s connection to it. Long lost allies Adam Warlock and Phyla Vell make an appearance as well.

Irving grabs readers by the eye balls and drags them into the darkest depths of weird and creepy. The first page with Thanos is legitimately chilling, showcasing The Mad Titan in his own horror scene.

Reminiscent of Arkham Asylum‘s most disturbing scenes or when Jason Aaron takes Thor through his stunning mythology. Irving deserves major praise for this effort.

Even abstract versions of Rocket and Groot show up by the issues end, as Gamora sets off to find the Soul Stone.

This standout issue, from a series quickly establishing itself as something special, will stick with me for a long time. Irving’s work here warrants paying closer attention to his future work.

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‘The Mummy’ Review: Universal Stumbles Into A Dark Universe

By

Dewey Singleton - Film Critic

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In theaters this Thursday, The Mummy is hampered by its lack of an identity and Tom Cruise’s overacting.

Summary

Universal’s brand new Dark Universe starts in Iraq as a couple of United States soldiers, Nick Morton (Tom Cruise) and Chris Vail (Jake Johnston), are 100 miles away from their unit looking for ancient artifacts to sell on the black market. They encounter a group of insurgents who Morton feels they can sneak around and continue their quest for artifacts to sell. The insurgents quickly spot them and they take heavy fire. Left with no options, Vail calls in an airstrike in the hopes of driving back the enemy. His plan is not only successful, but the aftermath of the bombing also revealed a massive Egyptian tomb. Nick and Chris see dollar signs, but Jenny Halsey (Annabelle Wallis) arrives and has her own agenda. Halsey is the head of the United States efforts to preserve any artifacts found in Iraq.

This isn’t the first time Jenny and Nick have met one another. Apparently, it was Nick who stole a map from Jenny (during a sexual encounter) that lead them to this site. The group quickly realizes that this is not any ordinary tomb. Jenny immediately declares that contents of the tomb must be taken back for further study. Of course, this decision doesn’t end well as Chris ends up possessed and kills an officer on the plane, and an engine blows out, plus a flock of ravens crash into the plane causing it to spiral out of control. The plane crashes into the English countryside. The mummy (Sofia Boutella) is freed, and somehow Nick survives the wreck. We come to learn that Nick survived for the sole purposes of being ritually sacrificed by this mummy. The film then dissolves into chase scene after chase scene that was reminiscent of most any Mission Impossible film.

What Worked

Russell Crowe’s portrayal of Dr. Jekyll is one of the highlights of this movie. He was able to demonstrate the duality of this character and was entertaining. The only downside is that Crowe’s character wasn’t supposed to overshadow both Cruise and Boutella.

The discussions of Prodigium or the Dark Universe were some of the most compelling moments of the movie. What’s Prodigium? They are similar to S.H.I.E.L.D. in the Marvel Universe, but instead, deal with the forces of darkness.

Director Alex Kurtzman didn’t shy away from making this version of The Mummy his own. I loved seeing Tom Cruise be the one who was being chased by the Mummy. Instead of being the solution in the film, he was the one searching for answers. My only wish is that he would have taken more chances like this one.

What Didn’t Work

Tom Cruise was a poor choice to help usher in this new era of “Gods and Monsters.” His role didn’t call for that same intense tone he takes every time we see accept another impossible mission. This is a world that no one understands and nothing can change that. A more nuanced approach to the role would have gone a long way.

Jake Johnston’s character was incredibly pointless and should have been killed off when the plane crashed in London.

Why would you introduce a whole new Dark Universe to fans yet not take the time to lay the groundwork for future films?

Why was there a need to deviate from the movie’s most intriguing moments to have another sequence with Cruise was being chased?

At times the narrative was trying to be too witty and even a bit comedic as well.

Overall

This version of The Mummy is the tale of two different stories. The first being your typical Cruise film with an ending that will leave audiences seeking refunds. The other being a unique approach to laying the foundation for a brand new cinematic universe. Had the film just stuck to building this new world, then maybe Cruise’s latest movie would have come across as good summer fun instead of something typical and full of tedium. One can hope that the films in the Dark Universe will improve, but after The Mummy, that’s far from a sure thing.

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Review: ‘The Mummy’ Starts The Dark Universe Off On The Wrong Foot

By

Anthony Composto - EIC

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Think about the first installment in your favorite film franchise. You’re probably thinking about Star Wars or Iron Man, maybe Raiders of the Lost Ark. These movies set the tone for their respective universes. They’re appetizers, giving you a taste and making you want more. It’s crucial to start a franchise off right, otherwise you can spend years trying to regain your footing. That’s a lot of pressure riding on The Mummy, the first film in Universal’s Dark Universe. Unfortunately, things aren’t starting off so great.

There is nothing original about this movie; it’s just another watered down action/horror. Granted, it’s a big budget tent-pole movie, so no one expects it to reinvent the wheel. But even blockbusters should try and do something new once in a while. Here, the story is predictable, as are the “scares,” and the characters are typical archetypes that we see way too often.

Speaking of the characters, there’s not an interesting one in this bunch. It’s no fault of the actors, but there’s just nothing to make the audience care about them. They’re all shallow, underdeveloped bores. Any major character moments fall flat because they’re not earned. Tom Cruise’s Nick is supposed to have an arc, but there’s no evidence to support it. We only know he has an arc because characters tell us.

And really that’s the problem at the heart of this movie – poor writing. We’re TOLD that characters have arcs. In fact, we’re TOLD everything. There’s more clunky, exposition-laced dialogue in the first hour of The Mummy than there should be in a whole film. Not only that, but the script suffers from terrible tonal issues as well. It tries to be scary, thrilling, and funny all at once, and it falls flat. The humor is forced in way too often, and at the worst moments, for no reason at all. Even worse, the jokes aren’t funny. This movie feels like it doesn’t know what it wants to be.

Then, as if this script isn’t bad enough, it commits the cardinal sin of shared universe films. It breaks from the story it’s telling to set up future installments. When will studio execs learn? Focus on the story at hand. Make a good Mummy movie first and foremost, and then audiences will want to see more of the Dark Universe naturally. Forcing in an unrelated scene just disrupts the flow of an already shaky narrative.

As far as redeeming qualities go, this movie looks pretty good. There’s some beautiful cinematography, especially early in the film when it’s set in the desert, and the action sequences are kind of fun to watch. But that’s about it.

The Bottom Line

If the first film in a franchise is meant to be the appetizer, than The Mummy is just bread. It’s fine and you’ll pick at it if you’re hungry, but ultimately it’s bland and unfulfilling. You’ve seen this movie before. Go see Wonder Woman this weekend if you want action. Go see It Comes At Night if you want horror. Just don’t support cookie-cutter schlock like The Mummy.

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DJ Khaled Featured In Latest ‘Spider-Man: Homecoming’ TV Spot

By

Aric Sweeny

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June 8, 2017

A new Spider-Man: Homecoming TV spot features Spidey getting snacks for Tony Stark’s party, and coincidentally, runs into DJ Khaled himself. Watch it down below.

https://www.youtube.com/watch?v=tjbjAeGm3k8

Khaled posted a photo with Stan Lee and Tom Holland back in April, and many speculated it to be a cameo from the film. Now, we know it was for this piece of NBA Finals marketing.

Spider-Man: Homecoming features Tom Holland, Michael Keaton, Donald Glover, Zendaya, Marisa Tomei, Robert Downey Jr., Jon Favreau, Tyne Daly, Tony Revolori, Bokeem Woodbine, and Hannibal Buress.

“A young Peter Parker/Spider-Man (Tom Holland), who made his sensational debut in Captain America: Civil War, begins to navigate his newfound identity as the web-slinging super hero in Spider-Man: Homecoming. Thrilled by his experience with the Avengers, Peter returns home, where he lives with his Aunt May (Marisa Tomei), under the watchful eye of his new mentor Tony Stark (Robert Downey, Jr.). Peter tries to fall back into his normal daily routine – distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man – but when the Vulture (Michael Keaton) emerges as a new villain, everything that Peter holds most important will be threatened.”

The film hits theaters on July 7.

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Tom Holland, Jokingly, Expresses Interest In Playing ‘Batman’

By

Aric Sweeny

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June 7, 2017

Interview Magazine had Zendaya hold an interview with her Spider-Man: Homecoming co-star Tom Holland, and in the discussion, he expressed interest in playing Batman. Read an excerpt of their chat below.

ZENDAYA: I feel like I know the answer to this, but what role in an iconic movie do you wish that you could have played?

HOLLAND: James Bond. Or maybe I’ll do Batman.

ZENDAYA: It would be a little unfair if you got to play Spider-Man, James Bond, and Batman, Tom.

HOLLAND: It would be so unfair. But life isn’t fair, Zendaya.

While obviously a joke, I’m sure some fans would actually like to see this happen. When Ben Affleck hangs up the cowl down the line, should Holland replace him? Sound off in the comments below.

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Did Marvel Ruin Miles Morales?

By

Brandon J. Griffin

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June 7, 2017

Ever since making the jump from the Ultimate universe to the main 616 continuity, Miles Morales has been mostly forgettable. While he’s still a wildly popular character, hes not the important figure we thought he would be. Did Marvel ruin Miles Morales?

After Peter Parker was killed in Ultimate Spider-Man, it was a monumental achievement in comic book history when Miles became the new web-slinger.

Miles quickly became a gloriously tragic and complicated character, Brian Michael Bendis really struck gold with the character. Every issue of that run was a gut wrenching, trail blazing experience. It was truly an addicting read. Then Secret Wars happened.

When Miles became a fulltime member of the 616 universe, all of his depth and tragedy was stripped away. Marvel launched the new Spider-Man series with Bendis still writing.

This new series had hit a reset button on everything in Miles’ life except for how long he’s been Spidey. Without any clarification or much of an explanation, that’s pretty messy but could be easily ignored if the stories are compelling.

Seventeen issues into this run and nothing has met the standard set by Ultimate Spider-Man. From too many consecutive Civil War II tie-ins, to a lackluster Spider Gwen crossover romance, nothing noteworthy has happened.

The closest thing to entertaining drama came in the form of Black Cat and Hammerhead establishing their NY territory and butting heads with Miles. The dullest duo in villainy has continued to show up in this book seemingly every other issue. Each time becoming less and less relevant.

Instead of a kid in over his head trying to do the right thing, we’re given mopey Miles and the husk of his relationship with Ganke. They used to be the most heart warming friendship in comics, where did that go?

Mark Waid is providing the best Miles right now in his Champions series. Even so, that’s mostly a hive mind of teenage angst. It’s not a team that Miles particularly shines on or even stands out much in.

The only Miles moment that carries any weight, since making the jump to 616, is his alleged murder of Steve Rogers. That single image of Spider-Man holding a lifeless Captain “America” that Marvel proceeded to cram down our throats for the rest of Civil War II.

His potentially big character moments go by without warranting a second thought. Basically everybody but his grandma know he’s Spider-Man at this point and not a single one of those coming out moments carried any weight. His relationship with Ganke used to be so tight and real, now seeming like a parody of itself.

There’s potential for him to play a predominant role in Secret Empire going forward. One would assume he’s going to be more than just another kid hero lumped together for the teenager missions. Everybody, including Rogers, saw that vision of him holding Steve’s body.

The upcoming Spider-Men II could also be an opportunity to turn the character around. One would assume picking up the thread from Spider-Men‘s conclusion will provide a significant story.

Has the character been established enough for Bendis to hand him over to a new writer entirely? Is Bendis the actual problem? The only thing I know for sure is that something needs to change or Spider-Man is going to start shedding readers.

When an injection of Goldballs into your book doesn’t bring it to life, you’re in trouble. Hopefully Marvel, or Bendis, or both, recognize this underachievement and set forth a plan to fix it.

This should be one of the most popular comic books right now. Stop wasting the potential before you lose the audience.

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Flintstones #12: A Touching End To A Fantastic Series

By

Nick Enquist

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June 7, 2017

The Flintstones is one of the best comics ever published… And I’m still having a hard time believing that’s true. I’m having a harder time believing that it came from DC Comics. It’s even more baffling that it was my favorite series to read this past year. It’s also gut wrenching to know that this is the last issue in the series, but thankfully The Flintstones ends on a beautiful high note.

Issue 12 is a series of interconnected smaller stories with a narration from The Great Gazoo on how humanity will evolve. The Flintstones is Mark Russell’s biting satire of our world, skewering topics like religion, veterans affairs, social media, and science. However, this issue decides to not attack the usual suspects; instead it simply gives windows into the lives of all these wonderful characters. Russell also uses this issue to wrap up a lot of storylines and themes. I won’t go into any specific spoilers, but the stories are all wonderfully touching and lovely. It’s a much more subdued final issue and ends with less of a bang than other comic series.

The art is still fantastic, maintaining the heightened aesthetic that gave such a unique look to the series. Steve Pugh’s pencils with Chris Chuckry’s colors are just wonderful. The facial expressions and animals are particularly fun, and the backgrounds feel like an old episode of The Flintstones. There’s a lot of vibrance to the series and particularly this issue. Plus the background puns are just hilarious. My favorite was “Whammoth, Bammoth, thank you Mammoth.”

In an industry dominated by superhero action, sci fi, and horror stories, it’s amazing to see a major company take a chance on a smaller comedy series with a unique perspective on our bizarre world. Perhaps this will be the start of more interesting risks from the big two, and the rise of more comedy titles. We’re seeing Amanda Connor and Jimmy Palmiotti take on The Jetsons next, so who knows.

We here at Monkeys Fighting Robots loved this series and could not give it enough praise. It was touching, lovely, and yes, very funny in all of its biting satire, and weirdness. If you haven’t had the chance to start reading it, please pick up the series and start reading. If you’re tired of hearing us rave about it, pick it up anyway, so you can finally see what the fuss is all about. You absolutely won’t regret it.

Check out some of our older reviews of The Flintstones.

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‘Luke Cage’ Season 2 Kicks Off Production

By

Aric Sweeny

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June 7, 2017

Season two of Marvel’s Luke Cage has begun production, according to OnLocationVacations.com.

The first batch of filming is being done at a Broadway stage in Brooklyn, NY.

Luke Cage stars Mike Colter, Simone Messick, Theo Rossi, Frank Whaley, Alfre Woodard, and Rosario Dawson. Season two will launch on Netflix in 2018.

Are you looking forward to the second chapter of Luke Cage‘s journey? Given that this takes place after The Defenders, could we see Iron Fist pop in and deliver some Heroes for Hire action? Sound off in the comments below.

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Do You Stand Behind The Ending Of ‘Batman’ #24? Because “I Do!”

By

Manuel Gomez

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June 7, 2017

SPOILERS AHEAD!!!!

REALLY, READ AT YOUR OWN RISK!

Okay by now if you’re a DC Comics/Batman fan, you might have either already read the issue in question (Batman#24) or have seen the news spoiled all over the internet. But if you haven’t, the big news is our beloved Caped Crusader has asked Selina Kyle, the Catwoman, to marry him.

Batman #23 — Image courtesy of USA Today. (Art: David Finch, DC Comics)

You can read some facts and comments from writer Tom King about it here, and check out my review of the excellent issue here. But right now I just want to give you my opinion about the very specific proposal moment at the end. Now, I’m a Batman from way back and I am well aware of his many different alternate Earth incarnations, some of which do have him marrying Selina Kyle (in fact one of The Huntress’ origins is as their daughter!). But THIS event is happening in the main DCU, and that, especially in the Rebirth era, is a first. I for one think it’s a ‘brave and bold’ move. Tom King has shown that he fundamentally understands Batman/Bruce Wayne on many levels. He has shown us the bad-ass, the wise-ass, the word’s greatest detective, and even the father figure. Now he is showing us the lover. And by that, I mean not just in the physical sense, though he has shown us a quite sensuous rooftop encounter between Bruce and Selina before. No, what he is showing us now is a Bruce Wayne who is willing to explore areas of his life previously ignored. Perhaps urged by the advice of his father (the Flashpoint Batman) to find happiness, and not be ‘Batman’, Bruce has taken the first tentative steps in finding a happiness that doesn’t involve the self-destructive behavior of putting on a costume to risk his life on a nightly basis. This only adds depth to an already deep well of a character.

Catwoman has also been a consistent emotional and story point presence since King started on this title, so the moment does not feel out of place or out of character for either Batman or Catwoman. It works as the natural progression of a story. People are going to scream about it being a publicity stunt, but I don’t see it that way. The news wasn’t hyped up like so much “game changing” comic book stories are these days and most of us really only heard about a day before it happened (which is about the best we can ask for in this age of the internet). So I for one can get behind it. At the very least it’s going to take the title into an interesting direction and continues the work that Tom King is doing; exploring one of comics’ most complex characters from as many angles as he can.

So please, comment and discuss. Keep it civil but passionate. After all, talking comics is half the fun of reading them!

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SPOILERS: 11 Reasons ‘Batman’ #24 Is This Week’s MUST READ Comic Book

By

Manuel Gomez

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Batman and Gotham Girl share a quiet moment as they discuss what step she should take next. But Bruce’s own thoughts and recent experiences weight heavily on him, as he too struggles with where his life and choices have taken him. Can a man who dresses as a bat and prowls the night find happiness. Can he find love? And how does Selina Kyle, Catwoman, figure into it all?

Batman #24

“Every Epilogue Is A Prelude”
Written by: Tom King
Art: David Finch, Danny Miki, Clay Mann, and Seth Mann
Colored by: Jordie Bellaire
Publisher: DC Comics

Man does Tom King know how to keep things going on this title. He can craft tense, action-packed narratives like “I Am Bane”, weird, dark, and horror-tinged Vertigo influenced chapters like the Swamp Thing-centric “The Brave and The Mold”, and then he can bring the feels in a quite yet emotionally powerful moment like this week’s issue. Batman #24 is one of the most personal and character developing issues of Batman EVER, and here are 11 reasons not to miss what is destined to be a classic and much talked about issue.

The narrative structure Tom King creates is a thing of elegance. It feels like you’re listening to two people talk (they just happened to be wearing costumes and luring on high rise rooftops).
David Finch’s gorgeous pencils are equally good at emotional close-ups and huge moments.
“Never understood that. He always says that, but I don’t know. Does any good come from flying up, up and away?”
Jordie Bellaire’s colors are vital, and a perfect example of color as comics “cinematography”
The panel layouts in this issue create such a delicate flow. Perfectly paced for the emotional story being told.
Gotham Girl is a great creation, and her relationship with Batman is unique. Glad to see her sticking around.
I think David Finch may draw my favorite depiction of Gotham City in the modern era.
King is a clever writer and I can’t help but think this chapter’s title “Every Epilogue Is A Prelude” will have multiple meanings when we look back at it in the future.
The back and forth between Batman and Catwoman that Tom King excels at. He totally captures that there are two people that really know, care, and yet also ‘push’ each other.
That final, last splash page of Batman, on bended knee, asking Selina to marry him has perfect composition, coloring, and atmosphere.
The fact that the next arc is a flashback arc, and we will have to wait to see what happens with that ending!

No bones about it, this issue is gong to be very decisive amongst fans. But I find that it works when you trace the EMOTIONAL arc King has been taking Batman/Bruce Wayne on since he took over the title. All I know is Batman makes me want to keep reading, and that is the stuff of great comics.

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