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Non-Review Review: Conan the Barbarian (1982)

The 1982 Conan the Barbarian is one of what might be described as the “pop culture epics” of the eighties, a decidedly cheesy and campy take on an epic mythology – like Masters of the Universe or Flash Gordon. To be fair, John Milius’ adaptation of Robert E. Howard’s pulp hero holds up considerably better than most similar efforts to get an epic pulp product to screen. It’s still more than a little campy and cheesy, and more than a little dated. It still takes itself, perhaps, a little too seriously. However, it’s also a more thoughtful and considerate film than most give it credit for, and exceptionally nuanced in its portrayal of themes and ideas that most critics and pundits casually dismiss.

Steeling himself…

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Non-Review Review: Justice League – Doom

Batman has always had a bit of a curious relationship with the Justice League, as a concept. Justice League of America was introduced as a title featuring DC’s most popular characters, but it’s easy to spot the odd member out. While the team was composed of people who could move planets, forge objects out of willpower and move faster than the sound barrier, Batman was a more traditional pulp hero – a regular guy in a mask. His portrayal made him the odd man out – the paranoid loner fighting killer clowns and costumed nut-balls seemed a strange fit on a team of “science heroes.”

Dwayne McDuffie was one of the best writers of the team, making a massive contribution to the animated Justice League and Justice League Unlimited television shows, one of the best interpretations of the concept ever. As such, his exploration of Batman’s relationship with the group makes for fascinating viewing, despite the fact the movie occasionally veers a little too far towards the conventional.

A League of their own?

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Mark Millar’s Run on Ultimate Fantastic Four – Vol. 3 (Hardcover) (Review/Retrospective)

Celebrating the 50th anniversary of the Fantastic Four, I’m taking a look at some of the stories featuring the characters over the past half-century.

Mark Millar isn’t quite the tough guy he makes himself out to be. Asked a few years ago about whether the birth of his child might tame some of his more sensationalist tendencies, Millar replied that – if anything – he would be even more motivated to push the envelope in order to demonstrate he hadn’t mellowed. And, in fairness, the years since have seen ideas like Kick-Ass or Wanted or Nemesis, all excessively and ridiculously cynical, graphic and violent. However, I maintain that Millar is a stronger writer when he channels his inner softer romantic – for example, demonstrating the respect he showed Superman in Red Son. Taking over Ultimate Fantastic Four for a year (perhaps on a trial run before writing for regular Fantastic Four), you get a sense that Millar has a genuine affection for these characters and their world – too much to try to make them “darker and edgier”, for example. While his run on Ultimate Fantastic Four isn’t the best thing he’s written, it is sharp and entertaining – and delivered with enough energy that it can’t help but warm the reader’s heart.

Never a drag...

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Brian Michael Bendis’ Avengers – Mighty Avengers: Assemble & Secret Invasion (Hardcover) (Review/Retrospective)

This is the ninth in a series of comic book reviews that will look at the direction of Marvel’s core continuity (and in particular their “Avengers” franchise) over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity. Get an overview of what I’m trying to take a look at here.

After the schism of Civil War, a title like Mighty Avengers makes sense on some level. If you’ve pitted heroes against heroes in a contest that you’ve deemed to be allegedly subjective (Marvel’s editorial policy was that there was no right or wrong side to the conflict), then it makes sense to follow the winners as well as the losers. The post-Civil War issues of Bendis’ New Avengers followed those heroes who had fought against registration of superheroes and lost, and Mighty Avengers was launched to offer us an on-going narrative featuring the winning side. It also seems to be a conscious nostalgic effort on the part of author Bendis, perhaps a response to the criticism that his early work on New Avengers steered clear of conventional Avengers storylines – occupied as they were with Japanese ganglands, prison breakouts and Sentry’s inter-personal issues. Here, Bendis seems to be consciously focusing on classic Silver Age devices – in the first run of issues, the State-sanctioned Avengers team faces classic foes like Ultron, the Symbiotes and even Doctor Doom. The problem is that Bendis isn’t necessarily comfortable drafting conventional superheroic fare.

Ultron puts Tony in touch with his feminine side…

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