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The Walking Dead, Vol. 1 (Hardcover)

The best part of The Walking Dead is the premise, brilliantly summed up by Robert Kirkman in his afterword: why do zombie movies end? The answer is quite logical, as he concedes, in that people don’t want to spend their life in a cinema watching 24-hour zombie movies. Okay, most people don’t want to do that. Somewhat forshadowing the recent announcement we’d be getting a Walking Dead television series (from Frank Darabont, director of The Shawshank Redemption and The Mist, no less), Kirkman argues that comics and television are the only media that can truly support a longterm continuous narrative. What happens after your favourite zombie film ends? It’s an interesting premise to be sure. It’s just a shame that the initial twelve issues of the series don’t quite live up to it.

Better off red?

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Non-Review Review: Zombieland

It takes a certain mindset to enjoy Zombieland. Not everyone can laugh at the fact that a zombie clown’s nose squeaks as you bash its head with a mallet. Fortunately, I discovered, I can.

Tallahassee goes to bat...

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Mark Millar’s Run on Marvel Knights Spiderman – Vol. 1 (Hardcover)

With the news of the Spider-Man reboot being bandied about and the rumour that they were “darker and edgier” with the character, I thought I’d best check out what “dark and edgy” Spider-Man looks like. Here’s a hint: it isn’t Spider-Man III. I picked up Marvel Knights: Spider-Man. For those not-too-versed in comic book lore, Marvel Knights was basically the “mature” branding for Marvel properties, like Vertigo is over at DC (Neil Gaiman’s Sandman was published at Vertigo, for example). Basically, Marvel attempted to publish several books under this header – including Spider-Man and Kevin Smith’s relaunch of Daredevil – the idea being to offer more “grown up” versions of the familiar superheroes. While it’s entirely unfair to take the fact that the series was rebranded within three years as evidence of it’s quality, it failed to convince me that Spider-Man really needs to be made “darker and edgier”.

Yes, "darker and edgier" is a euphemism for "more violent"...

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Non-Review Review: The Deal

You know the kind of movie The Deal is. It’s about an over-the-hill writer who decides to screw with the Hollywood system and play it against itself, while seducing a beautiful woman and generally just being a cad. In short, it’s a movie writer’s fantasy. That’s by no means a bad thing, to be honest – when done right, you get the dark comedy Robert Altman’s The Player, a story of a writer’s revenge on a corrupt studio executive; unfortunately, when you do it wrong, you end up with a self-indulgent mess like The Deal.

Deal or no deal?

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$400,000 won’t buy you a good review from Variety, but it will kill a bad one…

Far be it for us to gloat over the misfortune of a major industry publication, but this story of Oscar ‘payola’ caught my eye. Basically Variety has been accused of pulping a bad review for a film which provided the magazine with $400,000 worth of advertising revenue. The film is Iron Cross – don’t worry that you haven’t heard of the would-be Oscar contender. It’s only really claim to awards prestige is that it offered the last performance of Roy Schneider. However, that $400,000 has gone along way – a lot of film nerds now know all about the film, which wasn’t on the radar last week.

Variety sold

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Non-Review Review: The Rock

I think there’s a case to be made for The Rock as a pop culture masterpiece. And, no, I’m not being sarcastic or bitchy – I genuinely believe that. It’s tough to look back no in the era of huge summer blockbusters, but the movie really codified what we should expect from a modern summer tentpole. I remember the gasps of shock when the Criterion – the gold standard of DVD releases – announced that they would be including Armageddon as part of the Criterion Collection, in what was clearly meant to be a nod to the mainstream action movies. Being honest, they should have picked The Rock.

Can you smell what The Rock is cooking?

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Non-Review Review: Alice in Wonderland

I imagine Lewis Carroll’s iconic fantasy story poses quite the problem for anybody looking to bring it to the screen. Both Alice in Wonderland and Alice’s Adventures Through The Looking Glass essentially consist of a collection of vignettes, very loosely linked to each other. One minute you’re translating The Jabberwockey and the next you’re hearing the story of The Walrus and the Carpenter. I can’t imagine it would be particularly easy to produce a film following that sort of almost random structure. Perhaps that’s why Tim Burton’s wonderfully visual fantasy seems to draw perhaps more heavily from The Lord of the Rings than its own source material, which is a shame, as the director fantastically brings the magic of Wonderland to life. If only there were more of it.

Down the rabbit hole...

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Non-Review Review: The Invention of Lying

What a fantastic concept. Imagine a world where nobody lies. Now imagine a world where some cheeky bugger – oh, look, it’s Ricky Gervais, who would have thought? – invents the concept of lying, an un-truth. Doesn’t it sound like comic dynamite in the right hands? I mean, humour is always about exploring and subverting social conventions, so removing all the little ‘white lies’ must surely be the stuff of comedy gold? Not so much, it turns out.

"look into my eyes, can't you see they're open wide? Would I lie to you baby, would I lie to you?"

Note: This review will probably mention some stuff that might spoil the movie for you – in some small way. We won’t be discussing the ending or such, but there’s a significant tonal shift in the middle you might not want flagged. If you want a quick opinion on the film, here it is: it isn’t worth your time, it doesn’t go anywhere with the concept and insists upon its own brilliance just a tad too much. If you want some reasoning, read on. If not, consider yourself forewarned.

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Superman: Red Son

Look! Up in the sky! It’s a bird! It’s a plane! It’s Superman! Superman: Strange visitor from another world! Who can change the course of might rivers, bend steel in his bare hands and who, as the champion of the common worker, fights a never-ending battle for Stalin, socialism and the international expansion of the Warsaw Pact.

Let out enemies beware: the is only one super-power now.

– Russian propaganda broadcast

I’ve remarked before, and many others have remarked as well, that Superman is a very tough character to write for, particularly after seventy years of publication. This is a fact reflected by the difficulty even comic book aficionados have in picking the iconic Superman stories – the essential collections, as it were. Undoubtedly Alan Moore’s work on the character would be collected (handily in Whatever Happened to the Man of Tomorrow?), as would Grant Morrison’s All-Star Superman. I’m fairly sure that this collection would also make the shortlist. As far as interesting and insightful takes on the character go, Mark Millar has what might be termed a “doozie” here: what if Superman had landed in Russia? What if instead of fighting for “truth, justice and the American Way”, he fought for Mother Russia? It’s certainly an intriguing idea, and Mark Millar’s execution is near-flawless as well.

Well, of course the balloon is red...

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Non-Review Review: Invictus

I have to admit being quite impressed with Invictus. One of the benefits of living in Europe, but also one of the burdens, is that we typically have a week or two to surf the reviews of any film about to open, as it has typically been previewed (and released) in America long before it arrives on our humble shores. On one hand, this allows us to make carefully considered film choices, but it also means that our optimism for an upcoming release can be bashed against the rocks of poor critical acclaim. Invictus didn’t secure a Best Picture nomination and it didn’t exactly blow the socks off reviewers. I know that a reviewer should go in to a darkened cinema leaving all expectations and preconceptions aside, but unfortunately this is the real world. Invictus isn’t a cinematic classic, nor the highpoint of anyone’s filmography, but it is a solidly constructed sports and politics epic with a superb leading performance and a skilled hand behind the camera.

Nelson Mandela - Nobel laureate, South African President, Springboks manager...

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