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Non-Review Review: X-Men

It’s the movie that started it all. We wouldn’t have this tight-spandex-wearing superhero craze in Hollywood today were it not for Bryan Singer’s ambitious adaptation of the Marvel wonder team (okay, Sam Raimi’s Spider Man played a part too). I don’t know what’s more surprising: that it worked at the time or that it still holds together quite well today.

No claws for alarm...
No claws for alarm…

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Ultimate Spider-Man Collection (Hardcover Volumes #1-3) (Review/Retrospective)

In 2000, Marvel did something genuinely bold with one of its pop culture icons. Of course, the early part of the last decade saw a breath of fresh air at the House of Ideas, with iconic and influential (and occasionally iconoclastic) runs on books like New X-Men, Fantastic Four, Amazing Spider-Man, X-Statix, Punisher and other titles like Daredevil or Alias. However, the formation of the Ultimate line of comics was perhaps the most significant creative gamble taken at the time. The idea was simple, and the timing perfect. With Sam Raimi’s Spider-Man around the corner, and Bryan Singer’s X-Men proving that superheroes were the stuff of summer blockbusters, it seemed like a perfect opportunity to launch a line of books that would be easily accessible to new readers, free from decades of tangled continuity and plot developments.

And, appropriately enough, the character chosen to spearhead this new line was arguably Marvel’s most iconic character, Spider-Man.

spidey

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The Ultimates by Mark Millar and Bryan Hitch Omnibus (Review/Retrospective)

The Ultimates got me into comics. I’d read a couple beforehand, of course, and picked up a stray issue in the nineties, but it was The Ultimates that convinced me that superhero comic books could be something bold and innovative and clever, rather than generic and plain. Looking back, I think that The Ultimates stands as one of Marvel’s crowning accomplishments of the last decade, with only New X-Men and Daredevil ever really coming close. A lot of people argue that it’s the cynical world view that sets Mark Millar’s origin story apart, and gives it a broad appeal, but I’d disagree.

I think that Millar’s story doesn’t work because it dismantles the conventional superhero narrative through glib nihilism and cool apathy, but rather because it vindicates that ideal by passing it through a crucible. In many ways, The Ultimates is perhaps the most optimistic superhero story I’ve ever read, if only because the idealism is truly earned.

Holding out for some heroes…

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Non-Review Review: Romeo + Juliet

I’m baaaaack!

Is it a spoiler to say that Romeo + Juliet is a tragedy? You never know these days (I’m reminded of that great Simpsons’ quote, “It started out like Romeo & Juliet, but it ended up in tragedy” – I remember a few people being surprised when I laughed at that, leading me to explain the joke). Still, the opening monologue lays it all out on the table, as does the fact that Shakespeare only ever wrote comedies or tragedies – and this ain’t a comedy. Anyway, I must confess I hate the play, as I hate hell, all Montagues and thee. Okay, not really, but it was drilled into my head for my Junior Certificate exam (as Macbeth would be drilled into my head for the Leaving Certificate). I remember my English teacher – a very nice old lady, by all accounts – steadfastly refusing to show us the Baz Luhrmann ‘reimagining’ of the play. To this day I’m not sure if she made the right call. 

Get used to those wings...

Get used to those wings...

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Hell Hath No Fury Like a Critic Scorned…

So, G.I. Joe didn’t get screened for critics as part of Paramount’s unusual marketing. I’m miffed. I’m ticked off. I think it’s a bad omen.

I’m also (apparently) a damnsight more professional than the huge number of film critics out there. Apparently the fact that most of them haven’t seen a frame of it, a huge number of professional film critics are panning the movie.

Are critics a bigger threat to Joe than Destro?

Are critics a bigger threat to Joe than Destro?

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the m0vie blog goes on holidays

Hey, just to let you guys know I’m heading off on holliers for the next few weeks. I should have internet access, so I might be able to offer some coverage or some feedback, but there’ll obviously be a lot less of it.

Anyway, take it easy. See you soon.

Absolute Sandman: Volume III

All things must end. I have to admit appreciating this volume a lot more reading through it again. It’s odd that the penultimate volume in a collection should reward repeated reading more than the early editions, but so it is. All-in-all, the collection is possibly the weakest of the four, but only barely. It’s still a damn good read and an excellent chapter in a compelling saga.

Quoth the Raven, "Nevermore."

Quoth the Raven, "Nevermore."

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TV Movies…

It surfaces every now again. Talk of a Sopranos movie. It’s the same deal-io with the oft-requested Veronica Mars movie or a sequel to Serenity. It seems that the big screen has become the desired home for any number of TV shows – whether they ended before their time (as Firefly did) or as planned (per the Sopranos). I’m a little surprised, though, that everyone seems to think this is a good idea.

Seeing red...

Seeing red...

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Non-Review Review: Indiana Jones and the Kingdom of the Crystal Skull

Why?

That’s my only question after seeing the film: why was it necessary? It’s not entirely a bad film – indeed, without the baggage coming with the franchise it might have been a perfectly average film. Unfortunately it is a terrible Indiana Jones film that is packed to the brim with elements that just don’t work and only one that does. Harrison Ford is one hell of a fantastic performer, but even he can’t save this film.

Jonesing for some Jones?

Jonesing for some Jones?

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Non-Review Review: Indiana Jones and the Temple of Doom

I would love to have been there when the sequel to Raiders of the Lost Ark was released. The anticipation and the build up to a sequel to one of most brilliantly bright and fun adventure films ever made. I don’t know what I would have been expecting… but I don’t think it would have been this. As a piece of trivia, the film is actually a prequel, but that doesn’t matter. It has a bit of an odd child of the franchise (even after Indiana Jones and the Kingdom of the Crystal Skull), in that it’s the only film that doesn’t follow Indy’s quest for a mysterious relic. But that isn’t the only (or even the biggest difference). There’s a massive shift in tone between this and the film proceeding it and the film following. Everything’s just a hint darker and… well, weirder. Still, I’ve a soft spot in my heart for the black sheep of the franchise and I fully and whole-heartedly embrace that weirdness.

Indy bridges the divide...

Indy bridges the divide...

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