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Non-Review Review: Superman II (The Richard Donner Cut)

Superman II has had a somewhat rocky production history. Essentially conceived as the “second half” of the original Superman film, it was all beautifully and carefully mapped out since before the original was released – in fact, Donner had done most of his work on the sequel before the original saw the light of day, and Gene Hackman didn’t even officially work on the second film (his filming blocks overlapped). It was a bold gambit, but one which could have returned an almost infinite reward. Instead, the producers of the film – the Salkinds – would fire director Richard Donner before he could finish his work and hire Richard Lester to come in a film some replacement footage. Perhaps the most telling thing about Lester is that, on viewing Donner’s epic take on the Man of Steel, the replacement dismissively stated that he wanted to stay away from “the whole David Lean thing”. Because the last thing he’s want to do is make a good movie. However, Donner would eventually get an opportunity to tell his version of the story – or as close to it as possible. Although there’s only so much editting can do, Superman II: The Richard Donner Cut makes almost as solid a case for its director’s vision as Superman III and Superman IV do for his successor’s lack of same.

Let's put this to bed...

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Geoff Johns’ Run on Green Lantern – Blackest Night: Black Lantern Corps (Vol. I & II) & Rise of the Black Lanterns

All right, gang. Let’s go shoot some zombies.

– Captain Cold, Blackest Night: Flash

It wouldn’t be a massive world-ending crisis of a DC Universe cross-over if there weren’t tie-in issues by the bucketful. Sinestro Corps War, Geoff Johns’ earlier Green Lantern mega-event, was relatively low-key in its ambitions, only really spilling across into four specials that dealt with the wider DC Universe. This time there’s close to thirty, which is, as you’d imagine, quite a lot. Given the relatively simplistic nature of the event (it’s basically “superhero zombies”), you’d be forgiven for expecting that the crossovers and tie-ins would become dull or monotonous, but they mostly avoid that. It’s partially due to the variety of perspectives offered, but also due to the extremely talented pool of writers and artists on hand.

As cold... as ice...

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Geoff Johns’ Run on Green Lantern – Blackest Night, Blackest Night: Green Lantern, Blackest Night: Green Lantern Corps & Blackest Night: Tales of the Corps (Review/Retrospective)

Wow. This is pretty much the climax of Geoff Johns’ five year run on Green Lantern, dating all the way back to Rebirth – where he reintroduced Hal Jordan, the original Silver Age version of the character. Since the very start of his run, he’s been dropping hints about the upcoming “war of light” and the prophecy first articulated in an Alan Moore short story decades ago – the prophecy of “blackest night”. Throughout his tenure on the title (and indeed his role shaping the DC Universe as a whole, as one of its guiding writers in the last decade), he has hinted again and again about big events looming on the horizon. Blackest Night is that event. And, in a way, it’s just as wild and crazy and huge as it should be.

Green Lantern reaches new heights...

Note: I am aware that the excellent Peter J. Tomasi wrote the Green Lantern Corps tie-in, but I thought it best to include it in the write-up here. I’ll actually be including my review of the tie-ins under the “Geoff Johns’ Run on Green Lantern” banner, even though he didn’t write all of them. If you’re looking for an opinion on Tomasi’s writing, it’s excellent and it’s highly recommended. Indeed, all four of these wonderful hardcovers are. Oops, did I just spoil my review?

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Ultimate Spider-Man – Vol. 10-11 (Hardcover) (Review)

This represents the final volume of Ultimate Spider-Man, the relaunch of the popular character created by marvel as a way of introducing the iconic webslinger to the those who might be understandably wary of the backstory and continuity tangles the character has found himself in (did you know the character sold his marriage to the devil?). It’s been a landmark run, and a popular one and – by any measure – a successful one. There’s a reason that this ‘reboot’, to borrow a cinematic term, was famous for outselling the mainstream titles. So, as it winds down, what do we think?

What a Shocker…

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God Hates Nerds…

I guess it really was the meek who shall inherit the earth, for it seems that some people definitely don’t want to be the geek. All joking aside, this is the kind of story which really scares me, as religious protestors have decided to turn their own particularly vitriolic brand of hatred towards that wonderful geek love-in that is San Deigo Comic Con.

Superman died for our sins...

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Non-Review Review: Hulk

Ang Lee directing a superhero movie? He’s certainly a strange choice to handle the first big screen adaptation of Marvel’s iconic green monster to the big screen, but arguably a smart one. Hulk is at its best when it hints at the psychological melodrama playing out behind its lead character, but suffers greatly from the fact that it is apparently really uncertain about its source material or what it wants to be. It’s weird to see a movie so wonderfully risky in one sense, but so utterly bland in others. Hulk is an experiment, but sadly isn’t consistent enough to be a successful one.

"Hulk Splash!"

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Wolverine: Enemy of the State (Review)

Wolverine is a bit of an odd character. He’s a bit of an odd character to have endured the sheer amount of publicity that he has and to remain a big gun at Marvel. He was introduced as an opponent in The Incredible Hulk, before ending up drafted on to Chris Claremont’s revised Uncanny X-Men roster. After that, he was lucky enough to earn his own miniseries (written by Claremont and drawn by Frank Miller), which became his on-going series which led to him featuring as a leading character in multiple team books and a title character in several solo series, all at the same time. Only Spider-Man can compete with that level of exposure, and Spider-Man arguable has a better claim to it as a richly layoured, complex and pseudo-realistic character (in the sense of being “Peter Parker: Schmuck”, rather than “Your Friendly Neighbourhood Spider-Man”… you get the idea). On the other hand, Wolverine’s defining trait is that he is very, very good at killing things.

Even an unstoppable killing machine can stop to pet the dog...

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Non-Review Review: Dick Tracy

There’s a good movie somewhere inside Dick Tracy. It’s hidden pretty deep inside, but I’m sure it must be there somewhere. All the trappings – costume design, set design, make-up and even some of the direction – run the gamut from good to great, but the movie is hampered by terrible performances and a really awful script. Seriously, it seems like the move was written on crayon in bright colours, which might fit well with the aesthetic that Beatty was going for – but does not a good film make.

Quit Dickin' around...

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Spider-Man: Blue (Review)

Writer Jeph Loeb and artist Tim Sale just work well together. They’re the pair behind The Long Halloween, the Batman story which strongly informed Christopher Nolan’s The Dark Knight. Somehow they bring out the best in each other, even though Loeb’s recent output has generally been less than stellar. At Marvel, they’re put together a rough thematic “trilogy” offering a nostalgic look at the early careers of various superheroes. Spider-Man: Blue is the middle part of that trilogy (coming after Daredevil: Yellow and before Hulk: Grey). I’m about to commit a cardinal sin, so brace yourself: I think Spider-Man: Blue is the weakest of the three books.

Welcome to the spider's web...

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Absolute Justice

They’ve lost their power. And I’m not talking about magic genie-rings or batarangs. I’m speaking about their real power. You don’t need them anymore.

– Lex Luthor discusses superheroes

Are superheroes redundant? In many ways, they’ve formed the basis of an American mythology in the twentieth century – many fo the classical superheroes represent a pantheon of gods not unlike the Greek or the Roman conception of the same. This is particularly true of DC’s panel of major superheroes, who may as well sit atop Olympus looking down on humanity. However, the past few decades haven’t necessarily been kind to the notion of the superhero – increasingly deconstructed and darkened and shaded and compromised beyond any similarity to their original status – and you’d be forgiven for wondering whether the genre has passed its sell-by date. This is the question at the core of Justice, the twelve-part maxi-series by Alex Ross and Jim Kreuger.

A league of their own?

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