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Paul Levitz’s Run on The Legion of Super-Heroes: The Great Darkness Saga (Review/Retrospective)

March is Superman month here at the m0vie blog, what with the release of the animated adaptation of Grant Morrison’s superb All-Star Superman. We’ll be reviewing a Superman-related book/story arc every Wednesday this month, so check on back – and we might have a surprise or two along the way.

The Great Darkness Saga is regarded as perhaps the classic Legion of Superheroes story. If you could preserve one of their adventures for the ages, this would likely be it. So it’s great to see DC pulling out all the stops and collecting it in a lavish Deluxe Edition, which includes not only the story arc and extras, but the complete build-up to the saga as well. This collection begins with the first issue of Paul Levitz’s second run on the title (and the recent solicitation of a Curse deluxe hardcover suggests that DC will be collecting all of that very popular run) and goes all the way through to the end of this epic storyline.

The book has its legions of fans...

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Does Whatever a Spider Can: How Sam Raimi “Got” Spider-Man…

This is a post as part of “Raimi-fest”, the event being organised by the always wonderful Bryce over at Things That Don’t Suck.

Watching all three of Sam Raimi’s Spider-Man trilogy back-to-back, it becomes increasingly obvious that the director harbours an honest and genuine affection for the source material. In fairness, it’s hard to believe that the cult director seemed like a safe option for a multi-million dollar movie franchise, but it worked out remarkably well – just look at the box office figures and the critical acclaim (of at least the first two films). So what is it about Raimi that really “clicks” with Spider-Man? How does the director get the character so well?

Goblin it all up…

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Non-Review Review: Source Code

A special thanks to the guys over at movies.ie for sneaking us into an advanced preview screening.

Duncan Jones really grabbed our attention with Moon, one of the most boldly original films of the last decade. However, it’s often the second film of a promising young director that is the most fascinating to watch, as the weight of expectation is measured against a (typically) larger budget and profile. Too many young talents fizzle out or stumble at the second hurdle. I’m glad to report that Jones manages to make it safely across. While Source Code might lack the power of his debut, it’s still a fascinating little science-fiction thriller, one I’m still thinking of hours after I left the screening. And that is certainly a mark of quality.

Has Colter gone off the rails?

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Critics Just Wanna Have Fun: Why I Dislike the “They Don’t Get It” Argument…

I like to think I am open minded. Just a few weeks ago, I published an article defending big budget blockbusters from their detractors. However, I find myself growing frequently frustrated when it comes to fans using the old “critics don’t like fun” argument to defend a given movie from any sort of meaningful debate and criticism. It happens a few times a year, most spectacularly with Transformers: Revenge of the Fallen back in 2009, but also this year with Sucker Punch. The film has received a critical lambasting, but fans are always quick to rush to the internet to critique the critics, claiming things like “they don’t get it” and “they don’t understand” or nonsense like that.

And, you know what? That’s just plain wrong.

Movie for suckers?

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Non-Review Review: The Evil Dead

This is a post as part of “Raimi-fest”, the event being organised by the always wonderful Bryce over at Things That Don’t Suck.

Sam Raimi’s original Evil Dead is actually a pretty decent addition to the zero-budget teens-go-up-to-the-woods-today-and-are-sure-of-a-big-surprise subgenre. It’s a trashy horror which demonstrates a deeper affinity for the genre than a lot of other “video nasty” slasher films are prone to. However, while the film displays clear hints of the director’s developing skill, it still feels just a little bit too much like another random exploitation “schlock and shock” film.

Axe any questions you might have...

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Elizabeth Taylor, RIP

I’m still not sure what to write about the passing of Elizabeth Taylor. Obviously I know who she is, and obviously I’m familiar with her incredible collection of work. She was an icon, one of the stars which defined the period of Hollywood which ran from the forties into the seventies. I’ve seen Cleopatra. I’ve seen Who’s Afraid of Virginia Wolf? I have yet to see Cat on a Hot Tin Roof, but it comes recommended. And yet, as I write this, I feel quite uncertain. Unlike most of the people who will discuss Taylor’s contributions to cinema, I am too young to remember all the classics. I have never seen any of them in a cinema. Elizabeth Taylor was never really a movie-star to me, she was an icon.

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Non-Review Review: Cleopatra

The big budget Cleopatra is renowned as something of a massive contradiction. It was panned mercilessly by critics, and yet picked up four Academy Awards (and five more nominations). It was the most financially successful movie of the year, and yet still turned a fairly substantial loss. It’s one of the last great Hollywood epics, and it almost killed Twentieth Century Fox. So there’s something strangely fitting about the final line, in which it was suggested that the movie’s subject was “the last of so many noble rulers.” In many ways, the film was the last of its kind, but perhaps the most lavish. Perhaps history has been kinder to the production than its initial release was, but it’s still a very flawed film.

I can see Cleo now...

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Non-Review Review: Darkman

This is a post as part of “Raimi-fest”, the event being organised by the always wonderful Bryce over at Things That Don’t Suck.

Spider-Man wasn’t Sam Raimi’s first foray into the world of superheroes. Darkman stands as one of the very few earnest superheroes created originally in the medium of film (as opposed to being adapted from comic books or other pulp fiction), and it’s certainly an interesting and entertaining feature. Going on to produce two direct-to-video sequels, some books, some comic books and even a computer game, the character is the very definition of “cult.”

The real Dark Knight?

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Non-Review Review: Spider-Man II

This is a post as part of “Raimi-fest”, the event being organised by the always wonderful Bryce over at Things That Don’t Suck.

Aside from Nolan’s two superb Batman movies, Spider-Man II was the only other comic book superhero movie to make my top fifty films of the last decade. There’s a reason for that. Part of it is the fact that the movie helped define what the second film in a superhero franchise should really look like, but a larger part of it is that this film represents the moment at which Sam Raimi seemed most at home with his beloved central character – and I think that genuine enthusiasm on the part of the director really shines through over the course of the film.

I reckon Spider-Man polls highly among superhero fans...

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It’s a Wonder They Stay On: Thoughts on Wonder Woman’s Wardrobe…

Well, the first pictures of David E. Kelley’s upcoming Wonder Woman adaptation have hit the web. Lynda Carter loves it and everyone else seems to hate it. Me, I really couldn’t care too much about the costume – I’m just worried about the very idea of a Wonder Woman television show from the creator of Ally McBeal. That’s not a putdown – well, it kinda is – but it’s a more fundamental problem than the outfit she wears (which will likely get retooled repeatedly over the course of the show – assuming the show has a course). Anyway, the outfit gives me an opportunity to wonder about Wonder Woman’s outfit. Is there something wrong with her traditional Lynda Carter look, and is this update an improvement?

Is it any wonder?

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