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Garth Ennis’ Run on Punisher MAX – Hardcover, Vol. V (Review)

To celebrate St. Patrick’s Day, this month we’re going to take a look at Northern Irish writer Garth Ennis’ run on that iconic Marvel anti-hero, The Punisher. Check back every Friday and Wednesday for a review of a particular section.

And so we’re here. We’ve reached the end of Garth Ennis’ Punisher MAX run, and one of the last things the author wrote for the character (he’d go on to write the Punisher: WarZone miniseries to tie into the film of the same name). It’s frequently regarded as perhaps the definitive run on the character, one held up as an example of what the Marvel MAX imprint is capable of. So, it’s been a long, sixty-issue journey to this point. And, I have to confess, I wasn’t entirely blown away by the run, or the conclusion to it.

Firing on all cylinders?

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Garth Ennis’ Run on Punisher MAX – Hardcover, Vol. IV (Review)

To celebrate St. Patrick’s Day, this month we’re going to take a look at Northern Irish writer Garth Ennis’ run on that iconic Marvel anti-hero, The Punisher. Check back every Friday and Wednesday for a review of a particular section.

I don’t know. It seems like, at times, I run hot and cold to Garth Ennis’ Punisher MAX run. It’s frequently cited as one of the great runs of modern comics, and there are moments when – if I squint – I can see hints of that masterpiece everybody is taking at. At other times, it seems I’m wandering in the desert, staring at a perfectly functional comic book, trying to figure out what everybody is making such a big fuss about. This penultimate collection of Ennis’ run contains two great examples of this. On one hand, the collection opens with the incredibly pedestrian Man of Stone, while it closes with the smarter-than-it-appears Widowmaker. Neither story is a masterpiece, but the latter has a lot more insight than I’ve come to expect from the series, while the former takes an interesting premise and does nothing with it.

The Punisherette?

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Garth Ennis’ Run on Punisher MAX – Hardcover, Vol. I (Review)

To celebrate St. Patrick’s Day, this month we’re going to take a look at Northern Irish writer Garth Ennis’ run on that iconic Marvel anti-hero, The Punisher. Check back every Friday and Wednesday for a review of a particular section.

It’s Omaha Beach. Wounded Knee. Rorke’s Drift, The Killing Fields, the first day on The Somme. World War Three in North Jersey. And only now, pouring automatic fire into a human wall — do I feel something like peace.”

– Frank Castle, In the Beginning

I don’t like The Punisher as a concept. It’s not some out-dated “heroes don’t kill” or “I need a good guy to be morally straightforward”, it’s more that the character is extraordinarily childish. This is the very embodiment of the nineties anti-hero explosion, the bubble in the mid-nineties which say Wolverine become even more outrageously (and inexplicably) popular, turned Ghost Rider into a major player in the Marvel Universe, and saw The Punisher hold down three (yes, three) monthly comic books. This is a guy who wears a skull on his T-shirt and kills criminals… that’s his schtick. And somehow, he became “uber-kewl”.

Armed and dangerous...

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Non-Review Review: Fort McCoy

This film was seen as part of the Jameson Dublin International Film Festival 2012.

Fort McCoy is a mess of a film that manages to botch a fairly interesting and compelling premise. Though Eric Stoltz does manage to escape the film with much of his dignity intact, many of his co-stars are not nearly as lucky. Written and directed by, and co-starring, Kate Connor, the movie struggles to find any measure of tonal consistency, as the movie takes basic concepts like cultural identity and coming-of-age drama, only to mangle them by playing to extreme melodrama. Indeed, most of the movie’s problems find expression in a single awkward moment: following the death of one of their own, the German P.O.W.’s at the eponymous camp arrange a funeral profession, which Connor opts to film in slow-motion, treating us to the unintentionally hilarious image of a bunch of mourning slow-motion goose-stepping Nazis. It’s a scene that beautifully evokes all the sorts of complex emotions that Connor was undoubtedly aiming for, but also demonstrates that the film has absolutely no idea how to get them to work together.

The war at home...

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The Sopranos: Sopranos (Review)

I feel like I am massively late to the party. Not fashionably late, mind you. However, my gran received The Sopranos on DVD for Christmas, and I’ve decided to go back and watch it from the start with her. I’ve seen bits and pieces of the iconic television show over the years – even following it for a full two seasons in the middle – but I’ve never seen David Chase’s dark exploration of the American dream from beginning to end. So, slowly, in the company of my grandmother, I shall be making my way through what many people consider to be the best television show ever produced. And where better to start, after all these years, than the very first episode?

Talking it out...

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Tintin: Tintin in America (Review)

In the lead-up to the release of The Adventures of Tintin: The Secret of the Unicorn, I’m going to be taking a look at Hergé’s celebrated comic book character, from his humble beginnings through to the incomplete post-modern finale. I hope you enjoy the ride.

Tintin in America was the earliest Adventures of Tintin book I read as a child, and I owned the entire collection from this point on (for obvious reasons, Tintin in the Land of the Soviets and Tintin in the Congo were not recommended childhood reading). That said, I’ve always regarded Tintin in America as one of the weaker entries in the series, perhaps because my childhood imagination yearned for something relatively more exotic than a trip to North America, or perhaps because the saturation of American pop culture made all the elements Hergé was spoofing seem like old hat. I’m not entirely sure, but I have to admit that the story hasn’t improved too much on re-reading.

America, %&#! Yeah!

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Non-Review Review: Platoon

I think now, looking back, we did not fight the enemy; we fought ourselves. The enemy was in us. The war is over for me now, but it will always be there, the rest of my days. As I’m sure Elias will be, fighting with Barnes for what Rhah called “possession of my soul.” There are times since, I’ve felt like a child, born of those two fathers.

Oliver Stone Charlie Taylor meditates on Vietnam

I honestly think that Platoon might be my favourite war film ever made. It’s almost certainly my favourite Vietnam film ever made, despite my considerable respect for Apocalypse Now. However, though Stone’s classic is steeped in allegory and metaphor (see the above quote), I think that it works better as a personal account of the conflict, rather than Coppola’s attempt to capture the surreal nature of the war on celluloid. Stone actually served a tour over there, and I think that there’s a lot of his own personal perspective poured into the film, which makes it feel like quite a raw and powerful piece of cinema.

War is dirty business...

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On Second Thought: Apocalypse Now (Redux)

I wrote in my review of the original version of the movie that the two-and-a-half-hour cut captured a great deal of the insanity that seems to have been a defining characteristic of the Vietnam War, with the movie feeling like a crazed surrealist trip into madness, a collection of abstract meditations on the American condition that felt compressed at over two hours. If that is the case, Apocalypse Now Redux captures another aspect of the conflict. It’s now less insane, but the instability and absurdity appear more systemic and endemic. It’s bloated, terrifying, harrowing and seemingly eternal.

Much like the war itself.

Back into the Heart of Darkness...

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Non-Review Review: Apocalypse Now

Apocalypse Now was what might be described as a “troubled” production. Francis Ford Coppola was never intended to direct the film, which ran into trouble with local weather and local politics, undergoing script changes on a daily basis, an overweight and overpaid Marlon Brando who refused to read either the script or the book it was based on (leading Coppola to read it to him), Dennis Hopper’s drug addiction and countless other factors. Actor Martin Sheen at one point had a massive heart attack and had to walk a quarter of a mile for help, which Coppola had to cover up (claiming he collapsed due to exhaustion and filming with extras and voice doubles) for fear of losing funding. Al Pacino had been considered for the role, but had the foresight to turn it down, with Coppola suggesting, “Al would do the film, if we could film it in his apartment.” If that’s true, he might be the smartest person associated with the production.

I mention this, because I think a significant amount of that trouble seems to feed through the film. There’s a sense that isn’t a safe production, which is somewhat fitting, given the subject matter.

Up the creek...

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Non-Review Review: X-Men – First Class

X-Men: First Class is easily the best thing to emerge from Bryan Singer’s X-Men movie franchise since X-Men II, all those years ago. Jane Goldman’s smart script and Matthew Vaughn’s confident direction help inject life back into the franchise that stirred up this current superhero blockbuster fad, providing one of the finest examples of the subgenre. Although the movie does occasionally veer a little bit too close to (and, once or twice, right into) camp, it’s also a clever, brave, bold and exciting action adventure, which provides the best characterisation of the series to date.

We've got it covered...

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