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Non-Review Review: Divergent

As far as adaptations of popular young adult novels go, Divergent lacks the strong charismatic lead of The Hunger Games or even the campy pleasure of The Mortal Instruments. Working with a premise that feels like it would have made for a delightfully cheesy piece of sixties socially-conscious science-fiction, Divergent proceeds to take absolutely everything far too seriously. Cliché moments play to an over-the-top soundtrack, terrible dialogue is delivered with earnest profundity, the movie failing to take any joy in anything that it does.

There’s a sense of cynicism in Divergent, with the sequels already mapped out, and the studio committed to their release. The result is a movie that never feels compelled to rush, instead spending most of its runtime spinning its wheels, covering familiar ground. It’s over-long and poorly paced, with the first two acts often feeling like a hyper-extended training montage, meaning that by the time anything starts happening the audience can’t wait for it to end. The result is a heavy-handed and over-cooked attempt at social commentary, one reeking of anti-intellectualism and simplistic pandering.

Don't worry, her training covers this...

Don’t worry, her training covers this…

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Red Skull: Incarnate (Review/Retrospective)

This March, to celebrate the release of Captain America: The Winter Soldier, we’ll be taking a look at some classic and not-so-classic Avengers comic books. Check back daily for the latest updates!

Incarnate is something of a companion piece to Greg Pak’s Testament. Testament was a miniseries following the life of a young boy named Erik during the Holocaust. Of course, Erik would grow up to become the supervillain known as Magneto, but Pak was more fascinated in the history surrounding the character – his origins as a Holocaust survivor. The series was beautifully written and well received, prompting Marvel to hire Pak to produce a companion piece.

Incarnate is effectively the origin story of the Red Skull, Captain America’s arch-enemy and a character Pak himself describes in the afterword as “the Marvel Universe’s most evil villain.” Setting the story in late twenties and thirties Germany, Pak sets the character’s origins against the rise of Nazism and the decline of the Weimer Republic.

A slice of life...

A slice of life…

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Avengers: Endless Wartime by Warren Ellis, Mike McKone & Jason Keith (Review)

This March, to celebrate the release of Captain America: The Winter Soldier, we’ll be taking a look at some classic and not-so-classic Avengers comic books. Check back daily for the latest updates!

Warren Ellis is one of the great comic book writers. Ellis works in a bombastic larger-than-life style that is never too beholden to the current continuity of whatever company for which he is currently working and which remains accessible to just about anybody who might want to pick it. His Extremis remains the perfect introduction to Iron Man, while Ultimate Human is the most syner-tastic marketing tie-in ever written, its release coinciding with that of Iron Man and The Incredible Hulk.

At the same time, Ellis’ work-for-hire can occasionally feel a little reigned in, a little too relaxed and too casual – lacking the energy and enthusiasm of his stronger work. Sadly, Avengers: Endless Wartime is a book that never quite measures up to its potential. An original graphic novel written by Ellis and illustrated by Mike McKone, Endless Wartime has a wealth of clever ideas, but never manages to get too excited about any of them.

Some men just want to watch the world...

Some men just want to watch the world…

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Greg Rucka and Marco Checchetto (and Carmine Di Giandomenico’s) Punisher – War Zone (Review)

This March, to celebrate the release of Captain America: The Winter Soldier, we’ll be taking a look at some classic and not-so-classic Avengers comic books. Check back daily for the latest updates!

Despite the continuity of character, plot and creator, it’s striking how distinct Punisher: War Zone feels from the sixteen-issue solo series leading into it. After Marvel cancelled Greg Rucka and Marco Checchetto’s Punisher series, the company green-lit a five-issue miniseries to allow the duo to wrap up the various plot threads and themes that ran through their earlier work. It is nice to see the pair given a chance to bring closure to their story, to tidy away loose ends on their take on Frank Castle.

At the same time, Punisher: War Zone feels very much like its own thing. The plot is powered by the arrest of Rachel Cole-Alves, Frank Castle’s accomplice who accidentally murdered a police officer during a botched raid. At the end of the series, the New York City Police Department had taken Cole into custody while Castle escaped into the night. In a way, the story could just has effectively ended there – the Punisher disappearing back into the woodwork, the characters all squared away.

While Punisher: War Zone does resolve the Cole-Alves subplot, it feels like it is primarily an accuse to pit Frank Castle against the Avengers. It’s a rather demented comic book idea – allowing a guy with lots of guns to face off against “Earth’s mightiest heroes” – but it plays into the larger themes of Rucka’s run about what tolerance of Castle says about the people who share this world with him.

Seeing red...

Seeing red…

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Non-Review Review: Captain America – The Winter Soldier

Captain America: The Winter Soldier is a delightfully pulpy adventure. In many respects, it feels like the movie that Captain America: The First Avenger really should have been, a celebration of its lead character’s versatility and a demonstration of how easily the comic book character can cross genres. Part of the beauty of The Winter Soldier is in the way that it feints. It weaves in directions that are a little surprising at times, and even avoids taking the path of least resistance when offered.

With an opening act that teases the age old debate about liberty and security (“this isn’t freedom,” Steve Rogers solemnly states, “this is fear”), the movie deftly steps sideways to avoid getting too bogged down in familiar political discourse. Much like Iron Man 3, there’s a charm in how The Winter Soldier evades any particularly probing political commentary, cleverly swerving out of the way of anything that could become ham-fisted or heavy-handed.

The Captain and the Widow...

The Captain and the Widow…

It tricks the audience into expecting a contemporary political thriller, only to become something a bit more unexpected – a strange hybrid of pulpy science-fiction, conspiratorial secret history and even seventies espionage thriller. It’s an exciting and engaging blend, one that never outstays its welcome. The only real problem is that it tries to do a bit too much and some of the smaller pieces get lost in the shuffle – which means the climax doesn’t resonate as well as it needs to.

Still, those are ultimately minor problems with a superior blockbuster.

Body of evidence...

Body of evidence…

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Brian Michael Bendis and Alex Maleev’s Moon Knight (Review/Retrospective)

This March, to celebrate the release of Captain America: The Winter Soldier, we’ll be taking a look at some classic and not-so-classic Avengers comic books. Check back daily for the latest updates!

One of the more endearing aspects of comic book publishing is the way that the “little guys” occasionally get a shot. There are mountains of titles published each month featuring iconic characters like Batman or Wolverine, but the major companies are occasionally willing to check chances on more quirky and unknown characters using top-tier talent. One of the big surprises of DC’s “new 52” relaunch was the decision to put superstar writer Geoff Johns on pop culture joke Aquaman.

Despite the fact that he has never quite set the world on fire, Marvel seems willing to invest in repeated attempts to launch the character of Moon Knight. Most recently, writer Warren Ellis has launched a new volume of the comic with artist Declan Shalvey. However, before the latest relaunch, Marvel tried another high-profile take on Moon Knight written by Brian Michael Bendis and illustrated by Alex Maleev, the duo responsible for one of the best-loved runs ever published on Daredevil.

The series made it to twelve issues, before Marvel cancelled it due to disappointing sales. Bendis has insisted that it was always the plan to end the series after twelve issues, but it seems strange that the series was not announced as a miniseries. Still, it’s easy to understand why Moon Knight struggled to find an audience. It’s great to have Bendis and Maleev crafting an on-going street-level comic book, but the series seems almost at war with itself, struggling with the difficulties of fitting this character in this particular role.

Oh what a knight...

Oh what a knight…

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Fear Itself (Review/Retrospective)

This March, to celebrate the release of Captain America: The Winter Soldier, we’ll be taking a look at some classic and not-so-classic Avengers comic books. Check back daily for the latest updates!

Part of what is so remarkable about Fear Itself is how uncomfortably it fits into the “huge event” role that Marvel cast for it. Matt Fraction’s seven-issues-and-change epic crossover event is really just a Thor story arc that dips its toe in the waters of Ed Brubaker’s Captain America. Instead, Marvel cast it as this gigantic universe-altering mega-important miniseries with over 100 crossovers and tie-ins from all corners of the Marvel Universe.

Positioned to capitalise on the release of both Kenneth Branagh’s Thor and Joe Johnson’s Captain America: The First Avenger, Fear Itself seems like a story told in the wrong place at the wrong time. Like Brian Bendis’ Secret Invasion would undoubtedly have worked better as an arc of New Avengers than as a full-blown “nothing is ever the same again” epic, Fear Itself would have been a much stronger comic had it been allowed to play out on a smaller stage.

Hammer time!

Hammer time!

Still, despite the problems inherent in large-scale epic crossovers, Fear Itself works surprisingly well. Indeed, it it probably the strongest Marvel “mega-event” of the past decade if only because it is built on a strong ideological premise and develops some of the underlying themes and ideas of Fraction’s other Marvel work. Treated as a seven-issue story arc from Matt Fraction’s The Mighty Thor, it’s a fascinating climax of ideas that bubble away in the background of his run.

The choice to let Fraction craft Fear Itself, with assists from Ed Brubaker on the prologue and epilogue to the event, is inspired. Fraction is not the most consistent of comic book writers, but he is also incredibly wry and self-aware. There’s a sense of charming self-deprecating to Fear Itself, as Fraction allows the characters involved to reflect on the absurdity of it all without ever losing track of their humanity. Fear Itself might be far from perfect, but it is clever, fun and thoughtful. And those are endearing virtues.

Suit up!

Suit up!

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Non-Review Review: Yves Saint Laurent

Jalil Lespert’s Yves Saint Laurent feels more like a mood piece than a biography. Beautifully shot, wonderfully acted and sensuously performed, there’s no real sense of structure to Lespert’s account of one of the most influential fashion designers of the past half-century. While the movie trods familiar bio-pic ground, with betrayals and addictions and scandal and love, it works best as a snapshot of its subject in motion. It doesn’t offer any particular insight into the life and times of Yves Henri Donat Mathieu-Saint-Laurent, instead trying to capture some of the mood of the designer’s life.

Drawing back the curtain...

Drawing back the curtain…

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Non-Review Review: Deceptive Practice – The Mysteries and Mentors of Ricky Jay

A veteran magic performer since his childhood, with a career stretching back over half a century, Ricky Jay is an absolutely fascinating subject. Jay is a master magician in his own right, but he’s also a writer, historian and actor. He is this gigantically important pop culture figure, having worked with directors like David Mamet or Paul Thomas Anderson – having appeared in film and television roles unconnected to his stage career. At one point, Jay even reads a poem written about him, The Game In The Windowless Room.

Jay has this incredible diversity of skills and interests, and it’s absolutely intriguing to delve into those interests. Deceptive Practice: The Mysteries and Mentors of Ricky Jay suffers a bit from never really pinning down the man himself, but it does demonstrate his long and abiding affection for the artform of magic, as well as some insightful glimpses at the long history and pedigree of this most mysterious performance art.

deceptivepractice1

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Captain America: Man Out of Time by Mark Waid and Jorge Molina (Review)

This March, to celebrate the release of Captain America: The Winter Soldier, we’ll be taking a look at some classic and not-so-classic Avengers comic books. Check back daily for the latest updates!

Captain America: Man Out of Time suffers under the weight of its nostalgia.

The past few years have been kind to fans of the star-spangled Avenger. Ed Brubaker enjoyed an extended run on the character that enjoys favourable comparisons to the best work by the best writers ever to work with Steve Rogers. A Captain America film finally saw theatrical release with Captain America: The First Avenger. So it made sense for Marvel to try to extend the brand in 2011, as that blockbuster was ready to hit cinemas and as the character’s stock was at an all-time high.

"It's okay, Cap. The First Avenger wasn't THAT bad..."

“It’s okay, Cap. The First Avenger wasn’t THAT bad…”

Mark Waid was a great choice to assist in this. Waid is a well-liked comic book writer with a long history at Marvel that includes two extended well-received runs on the character. Waid has written a number of genuine comic book classics, and he’s a writer who tends to handle nostalgia very well. So tasking Mark Waid with writing a comic book set in the early days of Captain America’s revival was a no-brainer. A five-issue miniseries about Captain America waking up in contemporary times written by Mark Waid? That should be a default slam dunk.

Unfortunately, there was a miscalculation somewhere. Man Out of Time feels sappy ans manipulative, with little new or interesting (or insightful) to offer about its temporally dislocated protagonist.

The man in the iron mask...

The man in the iron mask…

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