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Acts of Vengeance: The Punisher vs. Doctor Doom (Review/Retrospective)

April (and a little bit of May) are “Avengers month” at the m0vie blog. In anticipation of Joss Whedon’s superhero epic, we’ll have a variety of articles and reviews published looking at various aspects of “Earth’s Mightiest Heroes.”

In celebration of the release of The Avengers, this weekend we’re taking a look at the massive 1989-90 crossover “Acts of Vengeance”, which pitted various villains against some unlikely heroes. I’ll be looking at some of the most fun match-ups. This arc is collected in the companion omnibus.

I tend to like my Punisher stories with a hint of the ridiculous about them. I seem to be the only person who thought that Garth Ennis did his best work on the character as part of Marvel Knights rather than Punisher MAX, because I tend to think the character works best as a sort of an absurd straight man in mainstream comics. He is, after all, a character who uses superhero iconography (a giant skull on his chest, no matter how stripped-down the iteration) while being a guy with a gun who likes to kill criminals. I’ve always felt that the character required a suspension of disbelief that that only really worked if he was played just slightly ridiculous. Of course, that’s my opinion, and I seem to be in the minority on this, but it probably explains why I found Mike Baron’s tie-in to Acts of Vengeance – pitting the Punisher against Doctor Doom – to be so much damn fun.

Closing in to seal his doom…

Note: The always wonderful Chris Simms took a more indepth look at this unlikely crossover on Comics Alliance, perfectly capturing the wonderful insanity of it all.

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Acts of Vengeance Omnibus (Review/Retrospective)

April (and a little bit of May) are “Avengers month” at the m0vie blog. In anticipation of Joss Whedon’s superhero epic, we’ll have a variety of articles and reviews published looking at various aspects of “Earth’s Mightiest Heroes.”

As The Avengers is getting its U.S. theatrical release this weekend, I thought I’d celebrate by taking a look at a gigantic crossover. I’ll be reviewing individual tie-ins over the weekend, so check back!

Truth be told, I would have been quite disappointed if I made it all the way to the end of the month without taking a look at one of those token “big, dumb” crossovers featuring Marvel’s iconic characters. Truth be told, Acts of Vengeance just looked kinda fun. Although it spread to Marvel’s whole line, it was directed by writer and artist John Byrne, who was behind Avengers and West Coast Avengers at the time, so I’m totally counting it as an Avengers crossover. It’s one of those incredibly silly concepts that could only ever work in the context of superhero comic books. Basically, tired of being soundly defeated by their heroes, a bunch of supervillains decide to band together and exchange partners. Hilarity ensues as the line struggles to maintain editorial consistency.

Shattered heroes…

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Secret War (Review/Retrospective)

April (and a little bit of May) are “Avengers month” at the m0vie blog. In anticipation of Joss Whedon’s superhero epic, we’ll have a variety of articles and reviews published looking at various aspects of “Earth’s Mightiest Heroes.” Yesterday and today we’re taking a look at the two Brian Michael Bendis events that kick-started the writer’s work on the franchise.

In many ways, Secret War feels like a companion piece to DC’s Identity Crisis crossover. Both miniseries essentially deconstructed the relatively simplistic nature of those superhero universes – daring to question what might happen if you approached these plot devices with a bit more cynicism. Bendis’ Secret War miniseries not only sets up the status quo and suggests the themes he would develop over the course of his New Avengers run, it also darkens the entire tone of the shared Marvel Universe. You can almost plot a straight line between Secret War and Siege, considering it one gigantic and messy saga adopting a cynical approach to the mechanics of this fictional world.

The war at home…

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Non-Review Review: Half Moon Street

I do feel a little pang of sorrow that Half Moon Street opens with the “RKO” branding. RKO was the studio that gave us Citizen Kane and King Kong, so it’s just a bit disheartening to see the studio branding a half-hearted thriller that seems to exist only to show as much of Sigourney Weaver naked as humanly possible. Don’t get me wrong, of course, I’m not a prude. I have no problem with the notion of an “erotic thriller”, were it well handled. However, Half Moon Street is just a disjointed poorly-conceived mess featuring two leads who seem to give up on the movie about half-way through. It’s not as if there isn’t fertile ground for a gripping espionage thriller here, it’s more that the script by Edward Behr and Bob Swaim is so lifeless (and Bob Swaim’s direction so lethargic) that there’s absolutely no reason to care at all about anything that unfolds throughout the series of insanely massive coincidences that drive the plot.

“Okay… try to look inconspicuous…”

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See The Dictator First – The London Premiere Streaming Live to Selected Irish Cinemas

Read our review of The Dictator.

The lovely folks at Paramount sent around a release about the upcoming Sacha Baron Cohen comedy The Dictator, which is being released on May 16th. They are streaming the London premiere live to selected Irish cinemas, so if you are in Dublin, Galway, Cork or Belfast and want to get a sneak peak, the details (and links) are below:

For one night only, before the release of The Dictator hits cinemas ( May 16)  4 cinemas in Ireland will host special screenings with a live link  in to  the World Premiere screening in London at the Royal Festival,  The Eye Cinema in Galway, The Odyssey Cinema in Belfast, The Omniplex in Cork –  and limited number of tickets to  the Irish Premiere Screening at the Savoy. Doors open at 6pm and  there will be a live link in till 7.15pm where you can experience the red carpet and presenter Alex Zane will host  and then see the film first at this special event. For more details and to book tickets please check out their respective  websites  and box office

I’ve already nipped down to the Savoy and picked up a ticket. At the very least, it looks to be one of the more interesting blockbuster releases this summer.

Please note that the trailer below is kinda spoiler-y.

Not Everything, Not Yet: Nolan’s Dark Knight Rises and the Prospect of Finality

Read our in-depth review of the film here.

It’s a funny thing watching The Dark Knight Rises trailer that was released earlier in the week. It seems that a lot of people had the same response that I did. Colleagues in work, friends and family members, all looked at the trailer for the third in Nolan’s trilogy that began with Batman Begins and seemed to have the same observation. “I think he might kill Batman,” a lot of people remarked on viewing the teaser for the film. Given how safe most major studio productions are, especially those that are part of a cash-cow franchise, it’s amazing that the possibility even exists at all, hovering faintly over the film.

Broken bat…

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Brian Michael Bendis’ Avengers – Disassembled (Review/Retrospective)

April (and a little bit of May) are “Avengers month” at the m0vie blog. In anticipation of Joss Whedon’s superhero epic, we’ll have a variety of articles and reviews published looking at various aspects of “Earth’s Mightiest Heroes.” Today and tomorrow we’ll be taking a look at the two Brian Michael Bendis events that kick-started the writer’s work on the franchise.

Avengers: Disassembled welcomed Brian Michael Bendis to the Avengers franchise. The super-star writer had enjoyed long and well-received runs on Ultimate Spider-Man and Daredevil, but his tenure on the Avengers franchise proved much more divisive. Taking over for a three issue arc on the main Avengers title, Bendis literally destroyed the team. Not only did he demolish a lot of the iconography associated with the bunch of superheroes, he also launched a fairly scathing deconstruction of the stalwart superhero team. Bendis wasn’t just going to adopt a caretaker position on the series, he clearly planned some very serious remodelling. That meant that some walls had to get knocked down. In many ways, Disassembled feels like a brutal demolition.

Things come apart…

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Non-Review Review: Safe

Safe is remarkably up-front about what it is. It’s a collection of action clichés strung out on a series of contrivances and coincidences that exist purely so Jason Statham can appear menacing and get involved in brutal fight sequences. There’s no surprise to be had in Safe, save perhaps the charm of Statham as a leading man and his wonderful chemistry with the debuting Catherine Chan. The movie’s never outside its comfort zone, but it manages to do what it sets out to do with a respectable efficiency and charm. While he does occasionally succumb to the rapid-fire editing that plague modern action movies, I think that it’s safe to say that Boaz Yakin is a much stronger director than he is a writer.

Looking for a Safe house…

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Kurt Busiek’s Avengers – Avengers Assemble! Vol. 5 (The Kang Dynasty) (Review/Retrospective)

April (and a little bit of May) are “Avengers month” at the m0vie blog. In anticipation of Joss Whedon’s superhero epic, we’ll have a variety of articles and reviews published looking at various aspects of “Earth’s Mightiest Heroes.”

I’ll be honest. I am still not sure what to make of Kurt Busiek’s Avengers run, republished here in five lavish oversized hardcovers. The first three volumes of the set included the stellar artwork of George Perez, but the fifth and final volume contains the entire Kang Dynasty (aka Kang War) saga. For those unfamiliar with the storyline, it was a fairly massive plot told over fifteen issues and an annual, and marked the climax of Busiek’s five-year tenure on the title. For better or for worse, it’s a more than adequate conclusion to his run – complete with many of the flaws which chipped away at it, but also possessing many of the recognisable strengths.

"Don't blame me, I voted for Kodos!"

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The Sopranos: Pax Soprana (Review)

I think it’s possible to make the argument that The Sopranos can be read as that illusive “great American novel”, just handily divided into eighty-six chapters and televised as opposed to written. Sure, it’s a show about the mob, but it’s also a compelling examination of the disillusionment festering at the heart of the American psyche. Tony might be a New Jersey mob boss, but most of his problems aren’t too far disconnected from those eating away at the American middle class. (Hell, I’d argue that it speaks volumes to the Irish psyche and probably many other nationalities as well.) As such, across the crucial first season, Chase and his team of writers seem to lay down and establish the core themes, allowing Tony to confront and explore just one of the many gnawing insecurities eating away at any middle-class father. In College, Tony wrestled with the idea that his daughter might discover who he truly is, while Pax Soprana explores the notion of impotence and insecurity – some times literally.

Psyche!

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